FEATURE: Vinyl Corner: Manic Street Preachers - This Is My Truth Tell Me Yours

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Getty Images 

Manic Street Preachers - This Is My Truth Tell Me Yours

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IT has been on my mind for a while...

 IN THIS PHOTO: Manic Street Preachers in 2018/PHOTO CREDIT: Getty Images/Press

but I have been looking back at the albums from 1998 and wondering whether they have remained relevant and as memorable now as back then. It is always hard to create a record that can be passed down the ages and, even in a year as productive and exceptional as 1998, there were many that have been lost and nobody listens to. The Manic Street Preachers launched This Is My Truth Tell Me Yours the same year as we saw blockbusters from Madonna (Ray of Light), Beck (Mutations); Garbage (Version 2.0) and the Beastie Boys (Hello Nasty) – you can throw Lauryn Hill (The Miseducation of Lauryn Hill) and Massive Attack (Mezzanine) in there! I have talked a lot about the 1990s and which years (of the decade) were best but you cannot ignore how transforming and inspiring 1998 was. We had seen the best of Britpop and movements past; there was a gap for a new revolution and a fresh wave. What we saw was Electronic music and Trip-Hop coming more into the forefront and the mainstream as busy and exceptional as ever. Such was the quality and vibrancy of 1998, it is no surprise we are recalling the best albums from the year and comparing them with today’s crop. The Manic Street Preachers have not long released an album, Resistance Is Futile, and, although it is good, there is little of the same genius that defined their 1998 milestone.

 IMAGE CREDIT: Getty Images

1996’s Everything Must Go was the first album with their brother, Richey Edwards, and it was a tough time for them. A few of Edwards’ lyrics and songs would make that record – and unearthed writings were used on future Manics albums – but it was a band facing a new future and a very harsh reality. It is a shock the final record is so cohesive and memorable – you’d forgive the band for being distracted and too emotional to write something cohesive! The success of Everything Must Go pushed them forward and, whilst 1998’s response was less intense than some of the songs on Everything Must Go; This Is My Truth Tell Me Yours is overflowing with emotion, texture and quality. Whereas Everything Must Go was released at the height of Britpop – although it was not as chirpy and Pop-orientated as a lot of Britpop sounds –; 1998 was a different year and the British mainstream was embracing something different. This was the first Manics album with lyrics entirely by Nicky Wire and, as such, it was different in tone and unlike any other release. James Dean Bradfield and Sean Moore tackled the music and, together they released something far less accelerated and Hard-Rock-inspired than we were used to. There were glacial elements and more instruments; softer elements and angles in some songs and a more rounded and experimental affair.

I will talk about an anniversary release of the record (out tomorrow) and a Manic Street Preachers tour but, for me and many, 1998 was a terrific year for music where we were seeing many of our best-loved bands either change or dip in popularity. Britpop heroes like Oasis and Blur were heading in different directions (Oasis less successful than their rivals at this point) and other genres were coming in – there was more influence from American artists and genres like Hip-Hop, Trip-Hop and Electro. The Manic Street preachers, like a lot of their peers, were succeeding when it came to exploring new ground and able to produce the big anthems. If You Tolerate This Your Children Will Be Next – they were pretty keen on long titles back then! – was inspired by the Spanish Civil War and the Welsh volunteers who joined the left-wing International Brigades. You Stole the Sun from My Heart was Nicky Wire’s fatigue at touring and a desire for rest. The band was talking about tension, fears and exhaustion on Everything Must Go (Australia looked at getting far away and escaping the chaos in the U.K. and their ranks) and one could see some comparisons with the previous offering. This Is My Truth Tell Me Yours boasted thirteen songs and only one of them (the epic hit, Tsunami) was under four minutes.

Lesser bands were have put bloated songs with needless solos together but the lengthy 1998 gem from the Manic Street Preachers was them confident and taking their sound to new heights! Every song sounds focused, inventive and original and it showed what a strong unit the Welsh band were (and continue to be). In this review, Pitchfork drilled down to the truth and beauty of an incredible record:

“Supporting Wire's powerful lyrics, the Manic Street Preachers play with virtuosity and conviction. James Dean Bradfield's voice has never sounded better-- he's evolved into one of the best rock singers around. The band's music is also the most far- ranging of their career, incorporating a broader instrumentation that includes non- typical rock instruments like the sitar, melodica, omnichords, and organ. For example, "Ready For Drowning" possesses a moody, almost classical- sounding organ with some of the most intriguing harmonic shifts ever penned by a rock musician.

The Manic Street Preachers are also one of the few groups capable of integrating orchestral instruments in a way that still produces great rock music (check out the cello in "My Little Empire"), always avoiding the schmaltzy elevator music that can result when some rock musos get a hold of an orchestra. Meanwhile, they manage to infuse some quite dour lyrics with some of the most haunting melodies in rock this side of Radiohead. Bradfield and Moore seldom choose the obvious chords, arrangements and melodies, resulting in music that is heads- and- tails above almost any band on the planet. I'd say it's my album of the year so far, but I picked it number one last year. (It actually came out in the U.K. last fall)”.

There is something timeless and ever-intriguing about This Is My Truth Tell Me Yours as it is not an ultra-Britpop smash or something that was of a particular scene. I was at school when the album came out (I was fourteen) and I was wondering what would follow the epicness and influence. I had been aware of the Manic Street Preachers and loved albums like Everything Must Go and The Holy Bible (1994). I was drawn by their raw sound and huge tracks and was excited to get my hands on their fifth album. The thing I was struck by was the shift in sound and how easy songs like You Stole the Sun from My Heart became anthems of the year. You had the catchy choruses and distinct Manics sound but there was new light to be discovered. Unlike today, there was a giddiness and excitement in the ear in September when the album arrived on the shelves. CLASH, in their recent celebration piece, talked about the rush of expectation that was in the air and why the album resonated:

“As the clock struck midnight on September 13th 1998 thousands of Manic Street Preachers fans were queuing, some for up to 13 hours, outside Cardiff’s Virgin Megastores to be among the first to buy 'This is My Truth Tell Me Yours' and have their copy signed by the band, James Dean Bradfield, Nicky Wire and Sean Moore...

IMAGE CREDIT: Manic Street Preachers/Getty Images

As Britpop ate its self in a haze of cocaine in Camden and Champagne at Number 10, newly occupied by Labour’s Tony Blair, it was left to the Manics to give the country a new soundtrack. They had always stood apart from Britpop and it had been obvious they would live through other phases once that era ended.

As an album it stands the test of time better than any of the pop bands that dominated that year. It’s personal while remaining relatable and political while remaining authentic. The new re-issue captures its weary urgency perfectly and some of its messages seem even more important now than they were 20 years ago”.

There are, as of tomorrow, Collectors’ Editions of the album to mark its twentieth anniversary. Although the official anniversary was a few months back; these C.D. and vinyl bundles are must-haves for people like me who were hit by This Is My Truth Tell Me Yours when it arrived back in 1998. We get to hear new selections and there are demos and rehearsal recordings. It gives new light and exposure to a treasure of an album that, to me, was the last time the Manic Street Preachers created real genius. That might seem harsh but I think they hit a peak in 1998 and what we saw was a combination of new formation and responsibility – Nicky Wire as the lyricist – and the band facing a new time in British music…

Of course, being Vinyl Corner, I would urge people to get their hands on the two-L.P. version of the record (from tomorrow) and play it in its full glory. The Manic Street Preachers went on to evolve their sound and create more fantastic albums but, in many ways, they were unable to eclipse the wonder and revelation of This Is My Truth Tell Me Yours. Listen to the album with a record player and quiet room and you get to hear all the nuances and notes that make This Is My Truth Tell Me Yours such a rare treat. It is the sound of a band venturing in a slightly new direction but pulling off an incredible feat They could have stumbled and weakened after the intensity and exhaustion of Everything Must Go but, instead, they seemed refreshed and captivating. Whilst it is hard to name other albums that sound like This Is My Truth Tell Me Yours; I know so many bands who were inspired to get into music because of the 1998 smash. Many were following the band before then but had their eyes and minds opened following their fifth album. If you can get the twentieth anniversary releases (either one or all three) tomorrow then I urge you to but, if not, pick up the original album on vinyl and set some time aside to drink it all in! In 1998, many were raving about Air’s Moon Safari and Hole’s Celebrity Skin but one cannot mention a glorious year without mention the Manic Street Preachers’ wondrous...

 IMAGE CREDIT: Manic Street Preachers/Getty Images

THIS Is My Truth Tell Me Yours.

INTERVIEW: Fí

INTERVIEW:

Fí

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THE superb Fí...

has been telling me about her new track, Feel Better, and how it differs from her previous song, Éalú; whether there is more coming along in 2019 and which artists/albums have made an impression on her – she selects a great song to end the interview with.

The Irish songwriter recommends some artists we need to check out and tells me what it was like working in L.A.; if she gets time to unwind away from music and whether there are any gigs booked in the diary – Fí gives some advice to musicians coming through the ranks.

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

Hi, Sam. I’m great, thank you - and yourself? My week has been manic, stressful; loaded and exciting. Happy to take a breather after assignments and my single just released.

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

Yes, of course. It’s Electro-Pop, commercial but tinged with dark, Alternative and atmospheric elements. It’s important though that, stripped back on piano or guitar, the song is strong without all the production. I love a good, anthemic chorus built on a story or personal experience.

Can you tell me about your new single, Feel Better? What is the story behind it?

It’s basically about deflecting all that’s fake and embracing the real truth. It’s  a dark and self-deprecating song being true to yourself, not getting too caught up in the façade of who we think we are meant to be and (the humdrums) of what it means to lead an extraordinary life instead of just being who we are. Chase the unknown; we chase to find the spark that may ignite that fire of desire or ambition within us. Whether that be music, alcohol…whatever we need to distract ourselves to make us feel ‘ a little better’.

There’s highs and there’s lows; ups and downs, and not every day is significant or extraordinary. But, it’s how we perceive the little things that happen which help make us appreciate our individual  journeys that little bit more.

How does it differ to your previous track, Éalú?

I feel like they’re very different, sonically. I wanted to test myself, vocally, as I usually sing in my upper range so it was a change for sure. There was about five hours worth of harmonies on the track too so it’s definitely more built up and stacked in that sense. Both have Dance elements but I guess it’s more pop than Éalú which probably leans towards the electronic side. But, Feel Better still embraces the dark production elements.

I believe you have been recording in L.A. What was it like working over there? Tempted to move over there one day?

I was. I booked a mad, spontaneous trip to L.A. one night back in March.  I definitely regretted it after but, thankfully, it all worked out and ended up being a really amazing experience. Everyone loves Pop and everyone is so, so talented. It’s a bit surreal but also easy to get wrapped into it. I felt like that was my real life when I was over there but it’s also consuming; like everyone is trying to be somebody. I think every session I was in they were a bit like, ‘Who is this Irish girl?’; but every experience was enjoyable and I definitely learned a lot over there.

The atmosphere is so collaborative and fun and sometimes pressurizing to get the song completed in the given time. (There’s a vibe off of bouncing ideas and finishing a song when it comes together in the room). Sharing your experiences and thoughts with songwriters you have just met is, in theory, kind of unusual but it can be cathartic and it was a really refreshing change from writing on my own. I think, if my circumstances were different, I possibly would but I also like the idea of going there for short writing trips. It feels like a transitory place; idyllic and exciting, but I was happy to come home to reality and non-industry world after six weeks.

I love London, though. I had plans to move there but it’s still in my sights.

Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

My influences have really changed over the years, so I guess it’s a combination of all of them. My first influences was ’90s Pop. I had a major obsession with Britney Spears and loved Spice Girls and Samantha Mumba. When I first started out, naturally, I started in the real Singer-Songwriter/Folk sound. Alanis Morissette and Gabrielle Aplin were definitely on replay. I love a wide range of music but I guess you’re drawn to listen to the music you create.

I’d say Halsey was a major influence for my change in sound. I used to follow blogs on a daily and I heard her first single years ago and instantly loved her music, which was well before her hit with The Chainsmokers. I love how poetic she is and the way she tells a story: it’s clear she has something to say. Other artists like Dua Lipa, Dagny; Verite, Allie X and Tove Stryke are absolute Pop queens who are doing their own thing in their own right but all still different within the pop genre.

Do you already have plans for 2019?                                 

I have a lot of songs to release in the coming months - I’m aiming for January for my next release. Hope to write more, gig more and perform more and just keep building and gaining more traction with my music. Hopefully, I’ll start writing more with other artists and do more songwriting too.

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

I feel like releasing Éalú was a highlight - just as I put it off for so long and I didn’t know if anyone would like it. I did everything myself so it’s a scary thing just putting yourself on the line after putting in so much work into it. You hope people will love it. Hearing it on your favourite radio shows is just such an amazing feeling and, when people hear it spontaneously in the car or shop, that is like mind-blowing.

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

Alanis Morissette - Jagged Little Pill

I was working in a school and I had just started putting up demos of original songs a few years ago. One of the staff members told me I needed to listen to Alanis Morissette. My style of music was very different back then and the next day he burned me a C.D. of Jagged Little Pill and I really loved it. Her songwriting is so true and her voice is amazing.

Gabrielle Aplin - English Rain

I was watching so many YouTubers a few years ago; how they played and wrote music and I wanted to do that. I found Gabrielle online and loved her music. She was self-taught too so it inspired me to buy a guitar and teach myself to write and play.

Halsey – Badlands

I was writing really poetic, folky songs but also had written a lot of Pop songs. I wasn’t sure what style of music I wanted to record but, when I heard Halsey, I was drawn to her kind of style of Dark Pop. I love her stories, her lyricism and how she just did her own thing. She was not getting radio plays until Closer and she was building fans online long before her radio hit.

As Christmas is coming up; if you had to ask for one present what would it be?

Ohhh, this is tricky. I used to ask Santa for karaoke machines for as long as I remember. I’d get any and every type of karaoke machine. I’ve probably developed a bit since then! A new iPhone would be lovely (hint hint). I’ve had the worst year for phones and technology. I think I’m on my fourth.

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

I think Britney Spears. I idolised her when I was like when I was, like, six and I think it’s that case of mad dreams coming through life full circle. Dua Lipa, though; like I’ve been obsessed since her demos years ago. It’s crazy to see her blow up. Supporting her would be pretty magic. 

What advice would you give to new artists coming through?

Patience, persistence and perseverance...

Don’t compare yourself to others: just keep on going in your own lane and somehow, somewhere along the way the pieces start to fit together. Write every day. You’ll write awful songs but really great ones too. The more you write, the better you become. Surround yourself with people who encourage you and support you. It eases the load and pressure. It’s important to not compare yourself because every journey is so different; people break out and get discovered in different ways.

What you don’t see is the team of songwriters, pluggers; managers and producers behind one ‘hit’. Someone can have instant success but a short-lived career whereas someone could take years to gain traction and then have a lifetime of success. I guess success is also measured by how you perceive it and what you want to achieve. There’s no such thing as an overnight success. Where doors close, others will open so stay with it. Stay positive and keep on going.

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

I have a headline show in Whelan’s on 13th December as part of Midnight Hour. I’ve only recently started performing again so I’m finding my feet with how it’s all done and the best way to perform the songs. I’ll definitely have more to come in the next few months. Keep an eye out.

Are there any new artists you recommend we check out?

Yes. Loads and loads of great new artists. Xo Mo are from my hometown and are killing it - also the nicest guys in the World. FLYNN is from my hometown too and he’s just blown up recently. I love this new artist called GRAACE. I have her music on-repeat. Also loving ORKID and Charlotte Lawrence at the moment.

 IN THIS PHOTO: GRAACE

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

Ironically, music is my chill time. I started studying a Masters recently, so I haven’t had much chill time. Though, I’m looking forward to a Christmas break where they will be plenty of chill! I’ll probably spend that time writing and I love a good book. I go out with friends and I also love the gym. Apart from music, I find it’s important to take time to yourself to do something completely different to take your mind away from it.

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

Yes. I’ve had this on-repeat lately…

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Follow Fí

Facebook:

https://www.facebook.com/FiMusicOfficial

Instagram:

https://www.instagram.com/fimusicofficial/

Twitter:

https://twitter.com/fimusicofficial

YouTube:

https://www.youtube.com/channel/UCxjYauQr67EOVW9gDUs83ew

Spotify:

https://open.spotify.com/artist/2ThgJwM2JJ5Vja2C4rt8WE?si=hnJ0gUIVQ7-WyP7B-TBhvQ

SoundCloud:

https://soundcloud.com/fimusicofficial

INTERVIEW: ECKOES

INTERVIEW:

ECKOES

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HUGE thanks to ECKOES...

for telling me about her latest track, Without Prejudice, and how it came to be. I ask her whether there are plans for more material and whether we can see her on the road – she highlights a rising name to watch and a few albums that are very important to her.

I ask which artists inspired her growing up and whether she has a favourite musical memory; what she would like for Christmas and the advice she’d give to any artist coming through – ECKOES selects a great song to end the interview on.

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

Fabulous to both.

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

Clash Magazine just described me as “A multi-dimensional artistic entity” and I don’t think I can ever top that sentence. So, I’ll just leave that there...

Your new single, Without Prejudice, is out. Can you reveal how it started life and its story?

I’d love to say ‘the song just wrote itself’ but I’d be lying. I sat on those piano chords for about half a year before I could find a top-line that did them justice. My producer, David Ezra, almost stopped listening to my ideas: he was so sick of the hearing them. Then, one day I knew I had something; sent it across and we were like - this is it.

I’ll never forget the feeling that day in the studio when we both knew something magical was happening and you have to work quickly because that vortex to wherever inspiration comes from doesn’t stay open for long. Our responsibility is to let it flow through us and not get in the way. Two-three hours later, we sat back to listen and I’m pretty sure I cried I was so proud of it.

Might we see an album or E.P. next year do you think?

Absolutely. There’ll be an E.P. next spring.

Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

Artists like James Blake and SOHN give me life because they create experimental Electronic music that still manages to be beautiful yet unpredictable. I listen to Björk when I’m slipping back to my comfort zone; a Dutch Iranian artist, Sevdaliza, for her brave use of instrumental space. I have an old-school R&B core so you can often hear a deep Missy Elliott drum.

Do you already have plans for 2019?

Yes! I was selected for as an INES 2019 artist (Innovation Network of European Showcases) so I’ll be performing at a bunch of festivals abroad. I also just signed a deal to take my music to China, so the first trip to Beijing will be in January. I’ve never been before and it’ll be a massive adventure in general. And I’ll be playing a Spotlight 2019 Session for Ticketmaster on 14th Jan - a few days before I leave for China -, so it’s already looking like a great year.

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

Getting play-listed on Apple Music’s ‘Best of the Week’ two weeks ago was an outer-body experience, because I scrolled down and it was Meghan Trainor, Sean Paul; ECKOES, Muse; Bastille, Coldplay…and it’s not that I’m striving for Pop success (or Without Prejudice wouldn’t have been 5:30 minutes long); it’s more that they have the machines and teams to get them there, to get them heard, and I have just me and my song. I was so proud.

What does music mean to you? How important is it in your life?

Ha. Well it’s the reason I think I’m alive, so I guess pretty important yeah. I feel super-lucky that I’m someone who music/art comes down through. I get to create things that connect people; that connects me to people. However hard work it is. I’ll always be so grateful. 

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

JUST THREE?!

Paul Simon (and Ladysmith Black Mambazo) - Graceland

Pretty much raised me. My dad played the video of their Zimbabwe concert (that couldn’t be in South Africa because of Apartheid) on-repeat. The harmonies, the songs; the context - just everything about this album is beauty.

Whitney Houston’s (double album) Greatest Hits

It was a lesson to us all on piercing people’s hearts with your voice.

Alanis Morissette - Jagged Little Pill

It was so, so raw. It was magical.

As Christmas is coming up; if you had to ask for one present what would it be?

A few more hours in every day?

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

Oooooo. I’d open for Michael Jackson FOR SURE, just to be in his presence. And anything I ask for will look basic and normal compared to his rider, so I’d go all-in.

My band, Max and Luigi, would love random things like bumper cars and a carousel. I’d get mountains of lightly salted Kettle Chips to wade in. (Post-show of course; I’m not mad).

What advice would you give to new artists coming through?

Make sure you love the process. The making the music itself, the performing and the practicing. Because, if you do, you’ve already won, every day. But, if you don’t, then this industry will break you.

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

I’m playing a Spotlight Session 2019 for Ticketmaster on 14th Jan at Camden Assembly (formerly Barfly). Tickets are free on their website.

How important is it getting onto the stage and delivering music to the people?

It’s massive. Live is Queen - and everything else just serves her. It’s where we all get to experience this one moment in time all together. It allows me to bring my recorded music to life; share the visual aspect and connect with people in a magical way. I absolutely love it.

 IN THIS PHOTO: THABO

Are there any new artists you recommend we check out?

Not so new, but I just discovered THABO. His voice gives me chills. It’s so divine.

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

I don’t get much time to be honest, but when I need to reboot I go and see my little niece and nephew - who I am obsessed with. Little people are so all-consuming and joyful. I have to get out of my head and just enjoy the present  because, to them, nothing else exists.

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).

A friend of mine and inspiration, Terri Walker, has just re-blessed the music industry with her presence. Her new track, Breakout, is a must-listen

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Follow ECKOES

Facebook:

https://www.facebook.com/iameckoes/

Instagram:

https://www.instagram.com/iameckoes/

Twitter:

https://twitter.com/iamECKOES

YouTube:

https://www.youtube.com/user/MissDlys/feed?gl=LU&hl=fr

Spotify:

https://open.spotify.com/artist/5OdYe38kK1xXcyhk7sEJcG?si=2bLeOCL9RNSbA6eKghwmOA

INTERVIEW: Catherine Marks

INTERVIEW:

Catherine Marks

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THE wonderful Catherine Marks...

has been talking with me about her work as a producer and offering some useful insight and advice to those thinking about following her footsteps. As someone who has produced for the likes of The Amazons (she produced and mixed their debut album - it included the hit, Little Something), Palace (she produced and recorded their album, Heaven Up There); Big Moon and Sunset Sons; I was keen to learn how she came to producing and, given gender imbalance in the industry, whether she is seeing improvements.

Marks selects a few albums that are important to her; whether she has plans for 2019 already and whether there are rising producers and artists that we need to check out and follow – she ends the interview by selecting one of 2019’s best tracks.

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

Hi! My name is Catherine Marks and I’m a record producer/mixer and engineer.

What are you working on at the moment? Might we see a Catherine Marks-produced album very soon?

I have worked on several albums this year and they are all coming out in early-2019. I’m currently in Wales at an amazing residential studio working on The Amazons’ second album! It’s sounding monumental at the moment and we’re only halfway through!

How did you get into the production side of things? Was it something you always wanted to do?

I didn’t initially know that production was what I wanted to do but I always knew I wanted to work in music. Especially early on, I had no idea what production meant and also didn’t understand you couldn’t just walk into a studio and say “I’m a producer”! But, in the early days, I had a lot of doors open to me and I just made the most of those opportunities. 

I’d originally studied architecture and came to London when I finished my degree. Like a lot of interns/assistants, I started working for a producer rather than studying. It was tough but I enjoyed it and so kept going. This eventually led to engineering and then producing. It’s been many years of building up experience and then it was a natural step to production.

There are more female producers coming through, but the industry still is filled with male producers. Do you think it is harder for women to be accepted - and does more need to be done to turn the tide?!

I think we are in the process of the tide changing. There is, of course, always more that can be done. Having these kinds of conversations helps. The Music Producers Guild have also done a lot to give recognition to the women who are doing well in their field and hopefully that will inspire more women to be involved. I’m looking forward to the day when this isn’t a question that needs to be asked and it’s not about being male or female - just about being awesome at your job. 

But, it’s important that we keep having these conversations to raise awareness but also to highlight those who are kicking ass and doing well to encourage and inspire. It’s a tough job irrespective of gender but can be incredibly rewarding.

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Tom Oxley/NME

Which fellow female producers would you recommend to us to check out? 

Olga FitzRoy, Marta Salogni; Heba Kadry, Steph Marziano; Anna Laverty, Laura Marling; Sylvia Massy, Linda Perry;  Rhiannon Mair, Lauren Deakin Davies and Alex Hope just to name a few...

Do you feel D.I.Y. artists and those producing their own work encourages them to work in studios, or do you feel a lot of newer artists are going down the self-produced route?!

It varies. I like the artists who are using the D.I.Y. approach to develop who they are without the time restrictions and pressure that booking an expensive studio can often bring. But also when an artist knows it’s time to bring on another point of view, and perhaps another environment, is also important.

Your job involves a lot of different aspects and roles. What is the most rewarding part of working on an album and seeing it come to life?

The most rewarding aspect is the relationships you build in this really unique context and usually in a really concentrated period of time. Watching an artist grow confidence or seeing what they had in their head all along fully realised. 

It’s usually when the plan that I’ve had in my head comes together. Just making music that everyone involved loves!

Would you have any advice to anyone looking to become a producer? How does one get started?

There are many ways, but one suggestion is getting in touch with producers who you like and ask them if they’ll let you come and make them tea...learning on the job is how I started.

Also, don’t be discouraged if your first experience working for a studio or producer is a disaster. It’s all part of the learning process. It’s a very unusual working environment. People working in close proximity where emotions are much more magnified and heightened. Be prepared for your first situation to be horrible and trust me when I say the next person you work for will be infinitely better.

Do you already have plans for 2019 - and albums you are producing?

Yes, I have plans...I have three or four albums already in the diary...and a long holiday to Australia. 

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

There are so many.... 

But one moment in particular (because it was the first of many to come) was when I was in ICP with Wolf Alice making an E.P. and we listened back to Moaning Lisa Smile after having recorded it for the second time (it was the first track we’d recorded and we definitely did not hit a hole in one) and we all laughed and jumped around and danced because we were so happy that it sounded so amazing. 

I think there was an Oscar lying around and we pretended it was a Grammy. It was the sense of relief and elation; the anxiety and tension completely dissipated. It was one of the best feelings I’ve ever experienced.

I’ve had similar since but that was the first.

Which three albums (from other albums or ones you have produced) mean the most to you would you say (and why)? 

This is such a hard question as I could answer this differently another day of the week - but today...

Talk Talk - Spirit of Eden

I found the C.D. in one of the first studios I was working at as I was packing down a session. It was a late Saturday afternoon and there was no one else in the building. It was still very early in my career and I’d kind of switched off from listening to music for enjoyment and, as I was starting to learn how the magic was made, the magic had gone from my listening experience.

This changed that. I put it on and it made me stop. There was a little stream of sunshine coming through the window and I lay on the floor where the sun landed, closed my eyes, and listened to it all the way through. It changed everything.

The Stone Roses - The Stone Roses 

This album represents a series coincidences and serendipitous moments for me. I didn’t discover this album until 2002. This was a few years before I decided to move to London. It reminds me of the band I played with in Melbourne who introduced me to music other than what was on commercial radio. 

And I have ended up doing most of the albums at the studio where it was recorded.

Paul Simon - Graceland

Mum and Dad had it vinyl. I still have it on vinyl. I still love it!

As Christmas is coming up; if you had to ask for one present what would it be? 

Guitar lessons.

 IN THIS PHOTO: Jade Bird

Are there any new artists you recommend we check out?

She might not be new but I’ve only just come across her: Jade Bird! I also like Jerry Williams. Roman Lewis is incredible! YAK are pretty bloody awesome too.

 IN THIS PHOTO: YAK

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

The past eighteen months have not left much time for ‘chilling’ but mostly lots of naps...and then after I’ve sufficiently napped. I catch up with friends...engage with the world outside the studio.

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).

Comeback Kid - Sharon Von Etten 

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Follow Catherine Marks

Official:

http://www.catherinejmarks.com/

Instagram:

https://www.instagram.com/cjmarks/

Twitter:

https://twitter.com/cjmarks

FEATURE: More Tea and Biscuits Than Beer and Cigarettes: Where Have All the Hell-Raisers and Envelope Pushers Gone?

FEATURE:

 

 

More Tea and Biscuits Than Beer and Cigarettes

IN THIS PHOTO: Johnny Rotten (John Lydon) of the Sex Pistols and Public Image Limited captured by GQ in 2016/PHOTO CREDIT: Martin Schoeller

Where Have All the Hell-Raisers and Envelope Pushers Gone?

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THIS is not a feature condoning those artists who...

 PHOTO CREDIT: @diesektion/Unsplash

are caught in controversy because of sexual assault allegations or applauding those who are criminal and perverse. I am keen to distinguish between the classic idea of the hell-raising, hotel-trashing Rock icon and those who, in the modern day, are grabbing headlines because of a different form of destruction. This piece does not only apply to the male icons of the past: there have been plenty of female artists who have carried this incredible reputation, cool and, at times, notoriety. I am not suggesting we have absolutely no standout, edgy artists at the moment but the culture has changed so that this kind of attitude is being reduced. I remember, as recently as the late-1990s and early part of the last decade seeing these cocky and cool artists with a definite swagger and the tension that surrounds them – you are never quite sure whether they’d light up a cigarette in an interview or drive a motorcycle into a swimming pool! Maybe it would be unwise to embrace a new generation of Keith Moons and Jim Morrisons and, in an age of #MeToo and suspect morals, I feel their breed would be extinct within a matter of days. What I miss if that sense of excess and chaos that used to come from music. Certain quarters were renowned for their sense of chaos, disquiet and rebellion. I have written before about the lack of rebels in music and how everything seems so mannered and soft.

 PHOTO CREDIT: @sarahlouisekinsella/Unsplash

There are some great Punk and Rock bands out there and, whilst they are happy to create a rowdy and sweaty gig; that behaviour does not seem to extend beyond that. I love a gig that has a bit of unpredictability and rabble but, when you head away from the stage, are we too afraid to promote a certain fashion that might seem gaudy and provocative today?! Music tastes have shifted and we are seeing technology drive our choices more but I would have thought that, away from this, we’d get some modern artists who had a bit of personality about them. We have some fascinating and loveable artists but I am seeing older stars like Patti Smith, Madonna; Paul Weller, Noel Gallagher and John Lydon (Johnny Rotten) who, back in the day, were responsible for plenty of tabloid column issues and raised eyebrows! Perhaps movements like Punk and Britpop came with a certain flexibility and need to project a bit of flair. Chart back to the 1960s when we had these big and bold figures such as Keith Moon, Mick Jagger and bands such as Led Zeppelin and maybe there is no return. One of the rather unpleasant aspect of this old-time icon/hell-raiser is the sexual component. That old image of the band being inundated with groupies is a rather unseemly and horrible side that, I hope, has been vanquished. You never know whether it still happens but I’d like to think it is a practice that has moved with the times.

 IN THIS PHOTO: Oasis caught in cheeky mood in 1995/PHOTO CREDIT: Getty Images/Press

What seems to bother me is how mannered and controlled music has become. Even independent artists exercise too much self-control and I do think it is possible to be controversial, brash and have a swagger without stepping into a rather dodgy and black area. I do a lot of interviews and, whilst some artists have an attitude and can be spiky; you never get anything that rivals the rockers and punks of the past. The rebels and hell-raisers of the past and not genre-specific either: every corner of the industry, at some point, boasted its own poster-boy/girl of non-conformity and rebellion. I am hearing some attitude in music itself but one rarely sees these standout figures that play by their own rules and imbue that flame of trouble. In order to clean up music in terms of sexual allegation; have we sanitised it to such a degree where we are ensuring every musician plays nice and does not say the right thing?! Social media ensures we can all connect with one another but has this revolution meant freedom of speech has been compromised somewhat? One of the reasons why I am draw to artists such as Madonna and, say Oasis, is because you had real and bold personalities coming through. They didn’t need to be endlessly rude but there was a confidence and sense of the provocative that seems to have gone away.

 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Steven Meisel

The Gallagher brothers, Liam and Noel, still have a bit of a cocky side but they are different to the chart-ruling gods there were back in the 1990s. Potent and inspiring female artists like Chrissie Hynde and Madonna, say, should have inspired others to push the envelope and project but, more and more, modern artists are too safe and bland. Perhaps one could not promote a sexually-vivacious and near-scandalous artist but what has happened to bands that, once in a while, raise some eyebrows; interviews filled with political anger and spit; an artist/band that opens the eyes and you think, right away, they differ from everyone else out there. I remember growing up around the Britpop age and seeing these larger-than-life bands really light up interviews and, even off stage, had something special about them. I think we gravitate towards certain artists because there is something thrilling, raw and unpredictable about them. Not that the scene has been neutered but it has been a long time since we have seen someone come along that does not court tabloid attention for bad reasons but definitely peaks interest and seems to be on their own path. It is important we set a good example to the young generation but I think that should revolve around the more criminal and sexual side of things – you can draw a line and not compromise a sense of freedom and controversy. The fact social media is so powerful and prevalent means, inevitably, any action someone feels is ‘inappropriate’ or ‘flammable’ and they will be scolded and flogged.

 PHOTO CREDIT: @anete_lusina/Unsplash

I do worry that, in order to stop music going down a very dark hole, it has made artists afraid to be themselves. You might say the reason we are not seeing modern-day Gallaghers, Morrisons; Madonnas and Rottens is because of the times. Post-Punk is very different to the first wave of Punk and Pop is not as it was in the 1980s and 1990s. You could argue some of the boundary-pushing artists from the past were vying for MTV attention and trying to get ahead of their peers. Now, with social media, streaming and a particular way of working emerging; maybe artists risk losing support, money and following if they step outside of accepted boundaries. I know some artists have tarnished music but have we adopted this policy where we are scared stiff of artists with any sort of confidence and bold personality doing something regrettable? I am, as I said, not condoning the groupie-collecting bands and drug-taking, for example, but it is easy enough to avoid that and still get people talking. It seems there was a distinct cut-off point when we lost the icons, the rebels and the hell-raisers. Some might say the end of Oasis’ career signalled a decline but I think we can go a bit later. Maybe the early-2000s was the last time there were these sort of figures in music.

 IN THIS PHOTO: The Doors’ Jim Morrison is captured in 1967/PHOTO CREDIT: Guy Webster

It is tricky distinguishing between recklessness and rebellion; between the gone-too-far and the genuinely thrilling artists in some cases. Perhaps we need to let it be known that, of course, any artists who guilty or accused of sexual assault or go too far should be punished and suffer the consequences but it is possible to allow some free reign and not need to be so stuffy. I hope we do see a musical shift where there are these brash and potent stars; the big Pop artists who push the envelope and mark themselves out; the rare spirits unafraid to speak out and cause a bit of commotion. Rarely do we see music papers filled with the sort of battles we saw during Britpop; those artists trashing hotel rooms or the queens and kings of various genres showing why they are head and shoulders above their rivals. It is not that music is boring but I think there is too much fear and this feeling that too much could go wrong if we loosened the lead and let them run free. I hear plenty of potential and some charged songs but that rarely spills out into the open. I do not want to promote yobbishness or blur boundaries but there is a real need and yearning for something a bit more thrilling and rebellious in music. There is nothing wrong with a nice cup of tea and biscuit after a long day but you’d like to think, soon enough, we will start to see some artists out there who put one in mind...

 PHOTO CREDIT: @veeterzy/Unsplash

OF the decades-lasting hell-raisers of the past!

INTERVIEW: Hybrid

INTERVIEW:

Hybrid

___________

I have been learning more about Hybrid...

and his latest track, Make a Move. He gives me the lowdown on its origins and talks about upcoming plans and the sort of music he grew up around; how he mixes Spanish and Latin sounds into his work and whether there are some rising artists we need to keep a look out for.

I ask Hybrid if there is advice he would give to approaching musicians and how he spends time away from his work; what he would like for Christmas and which song he wants to end the interview on.

____________

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

I’m great. Still buzzing from the release of my single. It has been a great week producing, training; writing and getting ready for what’s coming.

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

Hi. My name is Hybrid. I’m a Latin/Pop and R&B artist. I’m from a little town in Spain called Torrevieja and recently moved to London to work on my music.

Make a Move is your debut single. Is there a story behind it?

It’s a long story but, basically, it’s about me being attracted to this really hot girl and we couldn’t keep our eyes off each other - but we both didn’t make a move, so she left and I thought I’d lost the chance to meet her. Luckily, later she came back so I decided to make the move and talk to her.

While I was talking to her, she kept complimenting me with this and that; saying “You’re so handsome” so I asked her “If you think I’m so handsome, why didn’t you come over and talk to me?” and she replied “It’s not a good look when girls approach guys”. It’s an issue for both sides and there are probably lots of missed opportunities out there. So basically just make a move.

Might we see some more material next year?

I’ve got a couple of new tracks lined up for early-2019 and been working in the studio on new songs with some top producers and writers shaping my sound. So stay tuned!

As a Latin artist who resides in the U.K. and Spain; sings in Spanish and English...do you think that opens you up to worlds and fans other artists are unable to touch?

Yes. It allows me to relate to both English and Spanish listeners and opens up a broader world of creativity to express who I am. Besides, I’ve been listening to Latin and American music most of my life so it’s a part of who I am.

Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

I was inspired by Michael Jackson, R. Kelly; Usher, Justin Bieber at a young age and, more recently, The Weeknd, Pnb Rock, and Ozuna.

Do you already have plans for 2019?

2019 will be the best year yet! I’m coming back to London to get ready for bigger things to come.

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

Yeah. My first performance. When I was twelve-years-old, my best friend had this crazy idea of performing at a school singing contest for fun - thinking it wasn’t going to be big. But, when we got there, the entire school was present. So just imagine the experience of a twelve-year-old kid starting his first year of high-school, having no idea if he could sing. But, when I opened my mouth and started singing, everybody went crazy which shocked me because I didn’t realise that I would have that effect on people.

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

There is one particular record that means the world to me and that is Me and My Guitar by Tom Dice, a Belgian artist. It was a gift from my grandma. 

As Christmas is coming up; if you had to ask for one present what would it be?

I want a new, shiny Touch Bar MacBook Pro to work on my music and future projects.

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

It would be The Weeknd.

What advice would you give to new artists coming through?

Just keep fighting and do what you want to do in life.

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

Coming soon...

 IN THIS PHOTO: Johnny Yukon

Are there any new artists you recommend we check out?

Johnny Yukon (Lies); anders (Undone) and Reo Cragun (In Too Deep).

 IN THIS PHOTO: anders

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

I like to chill doing music but, when I’m not doing music, I’m always skating with my mates.

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). 

Me and My Guitar by Tom Dice

__________

Follow Hybrid

Official:

http://www.hybridthagod.com/

Facebook:

https://www.facebook.com/HybridThaGod/

Instagram:

https://www.instagram.com/hybridthagod/

Twitter:

https://twitter.com/Hybridthagod

YouTube:

https://www.youtube.com/channel/UCBC8wyMWIq_tvZv_UD42tUQ

Spotify:

https://open.spotify.com/track/3X74segbQ89B2cHZj5UyE1

INTERVIEW: Brad Byrd

INTERVIEW:

Brad Byrd

___________

THANKS to Brad Byrd...

for discussing his latest single, Lovesong, and why he decided to tackle The Cure’s classic. He talks about his love of the band and which artists are important; albums that mean the most and when he got into music.

Byrd highlights some rising acts to watch and tells me what is coming next; if he has favourite memories from his time in music and who he’d support on tour if he had the chance – he selects, no shocks, a Cure song to end things with.

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

I’m well, thanks. I’ve been busy getting back into it after our Thanksgiving, but all is good.

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

Sure. I’m a singer/songwriter that grew up in New England and I currently live in Los Angeles, CA. My sound is mainly Indie-Rock/Alt-Country. I’ve released three full-length albums, plus a handful of singles and covers to date.

You have released a cover of Lovesong. What prompted you to tackle The Cure’s classic?

I’ve always loved The Cure since I was very young. A few months ago I heard Lovesong on the radio and it just hit me: creating a cover at a slower tempo might be interesting. I dug that concept so much that I decided to record it!

Are they a band you are a big fan of? What sort of sounds did you grow up around?

Yeah. The Cure’s music was like the theme to my high-school years. I basically grew up on Kiss Me, Kiss Me, Kiss Me and Disintegration. I also was into so much of what was on the radio at that time and certainly had love affairs with certain records like Def Leppard’s High ‘n’ Dry and Pyromania; Van Halen’s Jump; U2’s Joshua Tree and even Kiss’ Double Platinum. My parents played a lot of The Beatles, Crosby, Stills & Nash and John Denver records…and my brother was super-into Punk-Rock like Bad Brains. So, I was kind of exposed to the full dose.

Can you remember when you knew music was the path for you? Did something trigger that?

I was always drawn to the drums and bought my first kit when I was a freshman in high-school. My brother played guitar and we would jam after school constantly. My mom would always flick the cellar lights on and off to signal dinner time or, as New Englanders say: “Suppah time”. Drums are my favorite instrument but it wasn’t until my college years, at Syracuse University, that I fell in love with writing songs on the guitar.

After college, I lived in Brooklyn and worked in N.Y.C. as a technical recruiter (because I never thought of music as a career choice). After work, twenty-three-year old me would light a bunch of candles and record myself on a tape recorder in my studio apartment. Man, I wish I knew where those tapes were! I vividly remember one day having this weird feeling come over me - my ‘A-ha!’ moment...’This is what I want to do...be a singer/songwriter for the rest of my life’. It came out of nowhere really and the passion for it has never subsided.

Do you already have plans for 2019?

Yes. My team and I are releasing a full-length record called Phases in the spring and there will be live shows and videos surrounding the release. No specific tour dates set in stone just yet but we’re hoping to make it to the U.K./E.U. as well.

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

That’s tough; so many things. Just this month, legendary Los Angeles radio D.J. Nic Harcourt has been spinning my cover of Lovesong during his morning show on 88.5 FM (KCSN). That’s a standout for me!

What does music mean to you? How important is it in your life?

Outside of friends, family and health, it’s basically everything to me. As long as I can remember, I’ve wanted to write songs, record them and share them with as many people as possible. It’s a passion of mine that really runs deep.

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

Another tough one! Hmm…U2’s Joshua Tree really got me thinking about melody and song-craft. Later on, albums like Nada Surf’s Let Go and Lou Reed’s Transformer blew my mind in terms of simplicity, melody; groove and arrangement. Those three were all game changers for me.

As Christmas is coming up; if you had to ask for one present what would it be?

Peace, man. The world needs to come together and we’ve got to stop fighting everywhere.

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

I’d love to go out with The War on Drugs. I really love what they are doing right now. My rider would consist of mainly vegan/gluten-free options, plus a case of lime flavored LaCroix Sparkling Water for each gig.

What advice would you give to new artists coming through?

One: don’t take yourself too seriously. Two: know that making it and having a career in music is a long, slow burn. Three: don’t be an egomaniac.

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

Aside from a few quick Holiday appearances, we don’t have finalized tour dates to share just yet. But, we’re currently lining things up for 2019 and I’m looking forward to playing the tunes off Phases to lots of new crowds. If your readers are in Los Angeles, they can find me at the renowned Hotel Cafe in Hollywood or out in the desert, rocking the saloon at Pappy & Harriet’s.

How important is it getting onto the stage and delivering music to the people?

It’s so important…there’s nothing more fun and powerful than being on stage and affecting people with music.

 IN THIS PHOTO: David Poe/PHOTO CREDIT: Marina Chavez

Are there any new artists you recommend we check out?

I recently did a show with wordsmith, and N.Y.C. transplant, David Poe. He’s been at it a long time and his catalog is definitely worth deep-diving into. I also recently caught Misty Boyce with Grand Canyon here in L.A. It was a night of solid songs and great performances. Check ’em out!

 IN THIS PHOTO: Misty Boyce/PHOTO CREDIT: Deborah Farnault

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

My wife and our two dogs love to get out of the city and go to Big Bear Lake and the desert in California a lot. I use our trips to gain perspective and enjoy down time.

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).

Cool! Yeah, how about a song by, um…The Cure?! Let’s go with Lullaby?

 

Thanks for your time!  Happy Holidays and all the best to you in 2019.

__________

Follow Brad Byrd

Official:

http://bradbyrdofficial.com/

Facebook:

https://www.facebook.com/BradByrdOfficial/

Instagram:

https://www.instagram.com/bradbyrd/

Twitter:

https://twitter.com/brad_byrd

SoundCloud:

https://soundcloud.com/brad-byrd

YouTube:

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

INTERVIEW: Bree Taylor

INTERVIEW:

Bree Taylor

___________

I have been speaking with Bree Taylor...

about her latest single, You Played It All, and what its story is. I was eager to learn what is happening next for her and whether there are plans; the sort of music she was raised around and which albums ranks as personal favourites.

Taylor talks about the role plays in her life; what advice she’d give to rising artists and which new names we need to get behind – she ends the interview by selecting a great track and reveals what Christmas present she would have given a choice of anything.

____________

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

Hi, Sam! My week has been great so far! Found out my dad booked me a surprise trip to Nashville for the first week of June as an early Christmas present, so I am super-excited about that.

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

My name is Bree Taylor. I am a singer-songwriter from Toronto, ON (in Canada) and I recently released my six-song E.P. called Unbreakable in August 2018 and am currently promoting my single, You Played It All, off the E.P. This E.P. is a Pop record that I have been working on the past three years that I am excited to finally have released.

You Played It All is your new track. What is the story behind it?

This new single I wrote a few years ago as a sad piano ballad but, when I took it to my producer this past summer, we started playing around with it in the studio and we ended up turning it into this fun, upbeat yet-emotional Dance ballad. I absolutely loved the entire creative process of this song and where it ended up. It turned into something so special that I didn't see coming when I first wrote it - which is the coolest part of being a musician and songwriter.

It is a song about dating and relationships in today's dating era where many guys play games and lead girls on and don't take relationships seriously. They get scared of commitment or just purely enjoy the chase and are emotionally immature; but a lot of great women get hurt by them in the process. What I want people to take away from this song, however, is that if someone is playing with your emotions in any dating/relationship scenario they aren't worth your time or energy and you're better off without them. So, what seems like a hurtful situation is actually a blessing in disguise because you deserve so much better than that.

Are you looking ahead to next year in terms of material?

YES! I am already doing a bunch of writes (sic) and working on new music and will be releasing a Pop-Country single in the New Year and taking my music a bit more in that direction. My roots are originally Country; that’s what I was writing before I started on this E.P. but have always had a love for so many genres that I wanted to put out a Pop record. I’ve since been getting back into my roots and also have gotten so much feedback at my shows that I have a killer voice for Country music, so it seems that’s where things are taking me and my music next.

Can you give me an idea of the artists, older and new, who inspire you and compel your own sound?

I have honestly listened to so many different artists of different genres of music my entire life that I couldn’t quite give a direct answer to that. I have always just been me. I am sure all the different musical interests I have had my entire life have influenced me and my sound in one way or another. I grew up loving Shania Twain, Amanda Marshall; Carrie Underwood, Kelly Clarkson; Taylor Swift, Faith Hill; Sade, Avril Lavigne...the list goes on and on!

My current sound is just me - I write and sing from the heart and whatever comes out is where we take things. I love being able to experiment with my music!

Do you already have plans for 2019?

Well. I kind of spoiled this bit already by mentioning that I will be taking my music in a new direction in 2019 and releasing a Country single early-2019. I also mentioned earlier that I will be down in Nashville for about a week or so the first week of June 2019 so I am planning to set up a bunch of writing sessions and meetings while I am down there and take advantage of my time in town.

I also have plans to be doing more shows and festivals in 2019 and am hoping to potentially plan another tour as well. I have some things being planned behind the scenes that I am hoping will work out that I can’t talk about just yet - but I will update everyone on my social media once I am able to.

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

My favourite memory thus far in music would have to be being on my first tour this past May 2018. I did a twelve-show tour across Canada sponsored by Silhouette Eyewear that was absolutely a great experience for my first ever tour. It was very low budget and wasn’t the most lavish experience per se but it was great experience. Myself and all the other artists on tour had a lot of fun; bonded and made friends for life.

My ultimate favourite moment would be getting to perform on stage at the Hard Rock Casino in Vancover, BC. That is the biggest stage I have yet to perform on and it was a stage that several dozen incredible artists and bands that I admire have performed on like Pat Benatar, Michael Bublé... the list goes on. Their sound system and team were incredible too - it was a great performance experience.

What does music mean to you? How important is it in your life?

Music is everything to me. I don’t know how I would function without music in my life - it has been so ingrained in me that it is vital to my existence. Creating fuels my soul and music is every part of that. Listening to music has always been something my parents surrounded me with and creating it is such a deep part of me that not being able to sing or write would probably kill me or, at the very least, my spirit. I can’t see myself doing anything else and that is why I work so hard - because I really have no choice.

I have invested so much time, energy and money into my career but it is just something that doesn't feel like work to me. I even love things like this - interviewing, press; performing, writing; designing my website, acting in and creating a music video. Every angle of this industry and my career in music I adore. It’s second nature to me and is so enjoyable it just comes naturally and is everything I want for my life.

I also love that it gives me the platform to be an advocate for things I care about. I can not only write songs about topics that mean so much to me and writing very much is therapy for me...but I can bring awareness and share my story with mental-health as someone who has suffered with anxiety and depression almost my entire life as well as bullying in school, body-image issues and eating disorders.

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

Shania Twain - Come on Over

I would steal this album from my mom growing up and dance and belt out along to her tunes. It reminds me of all the happy times in my childhood when everything was blissfully happy and unaware of the stresses of adult life. Before I was bullied in school when things were easy and fun.

Avril Lavigne - Under My Skin

I went through a lot of teen angst and was bullied really badly throughout my school years and this album really stands out to me because it had a lot of deep and emotional lyrics that I could connect to. It got me through a lot of hard times growing up.

Michelle Branch - The Spirit Room

This album stands out so clearly to me because Michelle Branch inspired me to pick up the guitar and want to sing professionally and have a career in music. I had always dreamed about being a professional musician but, when I fell in love with her music and saw the passion she had and heard her lyrics, I knew it was how I wanted to spend my life. I can’t quite explain it but this album took me dreaming of having a career in music and gave me the drive and ambition to really go after it and make it a career.

As Christmas is coming up; if you had to ask for one present what would it be?

One present I really want this Christmas is love: love for me and for everyone. I want everyone to feel loved and wanted and to know how much they are valued especially at this time of year; especially those who don't have anyone or are going through hard times. This time of year is hard for many people, especially those who have lost loved ones who can't be here with us.

Since losing people close to me, the holidays have become a hard time for myself and my family and my heart goes out to everyone else dealing with similar things. So, all I want is love. I am a simple person and my pursuit of love and happiness has been a long and tiring one - and it's all I want in life but especially this Christmas.

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

I would want to tour with either Taylor Swift or Carrie Underwood. I admire them both so much as women, artists and businesswomen. I love their music and everything they represent and would LOVE to be able to open for either of them on tour.

In terms of my own rider - I am fairly easy going and modest so I don’t expect much. Haha. I would probably want some essential oils with a diffuser; hot ginger/lemon tea, a comfy couch to relax on; some good lighting to do hair and makeup and a little bed and treats for my dog - who I would want to bring with me on a big stadium tour like that.

What advice would you give to new artists coming through?

I always say that, for anyone wanting to get into this industry, you not only have to eat, breathe and sleep music but you also need to educate yourself on the business end of it as well. It is such a highly competitive industry that you not only need to have talent and passion but you need to run your own business and build your brand along the way. Music isn’t just about music anymore and there are so many area’s to this industry that are vital to your success. You need to find a way to stand out from the rest and set yourself apart.

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

The only current show I have booked for 2019 is February 22nd, 2019 - a charity event for Team Dog Rescue; Part with a Purpose at Chateau Le Parc. I am booking shows and festivals right now for 2019 and will post on my website any upcoming shows or people can join my mailing list to find out.

 IN THIS PHOTO: The Reklaws

Are there any new artists you recommend we check out?

I really am loving The Reklaws. They are a brother-and-sister Country duo and I saw them this past summer at the Mississauga Waterfront Festival and really fell in love with their music. I also love Kira Isabella - and her new single, Little Girl, is killing it. I just love her lyrics and the powerful messages behind her music. She also has a great voice!

IN THIS PHOTO: Kira Isabella

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

Music is pretty much my life and I am constantly surrounded by it because my drive and determination to make this a full-time career for myself is relentless so I never give up. However, I do let myself socialize with friends and family and I date when I get the chance as well, which not only fuels my music creatively but it had given me a lot of experience to give advice to my fans on my YouTube channel or upcoming podcast.

I like to unwind at home with my dog, in my P.J.s, with a good blanket and either a good book or show on Netflix. Or, I love doing yoga or going to the gym to help me de-stress and help me with my anxiety.

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).

Halsey - Without Me

__________

Follow Bree Taylor

Official:

http://breetaylor.com/

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FEATURE: Brilliant by Design: 2018’s Fifteen Best Albums Covers

FEATURE:

 

 

Brilliant by Design

PHOTO CREDIT: @guustimutant/Unsplash 

2018’s Fifteen Best Albums Covers

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WE often think about the best songs and albums...

 PHOTO CREDIT: @anko_/Unsplash

this time of year but do we really think about design and videos? The visual side of music is paramount and you cannot discount it. Maybe we do not put as much stock in album covers now that vinyl is not as common as decades past. I feel a great importance should be placed on album covers as they are your introduction to that particular work and an iconic example can endure for many years. So many artists get lazy with the cover and either do a rather uninspired portrait or some lazy design. It can be depressing to see it happen but I guess not every musician is design-minded and has that same flair. Now that we have seen most of the best albums arrive; here are fifteen incredible examples of album covers that catch the eye – almost more intense, colourful and intriguing than the music in the album itself! Have a look at these sense-catching, wonderful designs and you’ll agree there have been some rather fantastic covers...

 PHOTO CREDIT: @sahuaromedia/Unsplash

THIS year.

ALL ALBUM COVERS: Getty Images

______________

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 11th May, 2018

Label: Domino

Producers: James Ford/Alex Turner

Stream: https://open.spotify.com/album/7v6FNgLDS8KmaWA1amUtqe?si=TqOe6m7-SNSDsjMwOe23Hw

 

Beach House – 7

Release Date: 11th May, 2018

Label: Sub Pop

Producers: Beach House/Sonic Boom

Stream: https://open.spotify.com/album/1xg88pe0CUD6UeE3fEnEkD?si=b_l7DSuZRLCatvdG_qaRlA

Christine and the Queens – Chris

Release Date: 21st September, 2018

Label: Because

Producers: Christine and the Queens/Cole M.G.N.

Stream: https://open.spotify.com/album/08LcAgUEeFV4tM3WPPpbYh?si=JVTGx6HmQPKpTk0Mx9I6sw

Editors - Violence

Release Date: 9th March, 2018

Label: PIAS

Producers: Leo Abrahams/Editors

Stream: https://open.spotify.com/album/6sA3KrkfzaNnbrrbry7vvH?si=BmsrPSnUTXuFos14z-0w9g

John Grant – Love Is Magic

Release Date: 12th October, 2018

Label: Bella Union

Stream: https://open.spotify.com/album/52txSNOPrQRdZqSICTz705?si=Tcw6uvYRTFqwUfdMZCb8fw

Brandi Carlile – By the Way, I Forgive You

Release Date: 16th February, 2018

Labels: Low Country Sound/Elektra

Producers: Dave Cobb/Shooter Jennings

Stream: https://open.spotify.com/album/2wDKBKgco7u3V1IWEK5V8l?si=fSKVcvaFTJu2M8EyZkVznw

Jake Shears – Jake Shears

Release Date: 10th August, 2018

Label: Freida Jean Records (Absolute UK)

Producers: Jake Shears/Kevin Ratterman/John Hume (co-production)

Stream: https://open.spotify.com/album/3hozs5UEKdbBvKk9SRVe9g?si=EmOUJtHCTlyzZRakjHYHyw

Mr. Fingers – Cerebral Hemispheres

Release Date: 13th April, 2018

Label: Alleviated Records

Stream: https://open.spotify.com/album/46sews77v3EoXe6PzYmYdD?si=aYzdK45KRrmJWmsCf7S84w

Sandra Kerr & John Faulkner – The Music from Bagpuss

Release Date: 16th November

Label: Earth Records

Stream: https://open.spotify.com/album/5RmL5jpUh4vpqaLBYcjOPY?si=SLKnldNuQvqg-ndAUGSapg

James – Living in Extraordinary Times

Release Date: 3rd August, 2018

Label: Infectious Music

Stream: https://open.spotify.com/album/7naQYNSUpzEPPXoqUBv6HU?si=_zwXfMk0QSaGNukts-7Emw

Maribou State – Kingdoms in Colour

Release Date: 7th September

Label: Counter Records

Stream: https://open.spotify.com/album/70FGsJuLXPQHYdKmEZZFq9?si=KQhW9qC6QL2CqWDJ7bDwWw

Georgia Anne Muldrow - Overload

Release Date: 26th October, 2018

Label: Brainfeeder

Stream: https://open.spotify.com/album/7y38i89ZhdCh0k9qsvamz8?si=Q6DRgOohTYGNJlwFYrzJTw

CHVRCHES – Love Is Dead

Release Date: 25th May, 2018

Label: Glassnote Records

Producers: Greg Kurstin/CHVRCHES/Steve Mac

Stream: https://open.spotify.com/album/2hshVOA4ULsMGHPDiUaDbJ?si=o25orlOQRCqxWeKpLIrXkA

Tracey Thorn - Record

Release Date: 2nd March, 2018

Label: Merge Records

Producer: Ewan Pearson

Stream: https://open.spotify.com/album/4rb4OC3d46iZld05PU927t?si=fg1auDuxRaOcQ3ue6YtUXA

Let’s Eat Grandma – I’m All Ears

Release Date: 29th June, 2018

Label: Transgressive Records

Producers: David Wrench/Sophie Hunter/Faris Badwan

Stream: https://open.spotify.com/album/5Bnhkya5cGltQFTrnC0grx?si=qW1McNDCTJ-9h-jfdU-w5A

FEATURE: A Change in the Wind? Why We Need to See More Equality and Tougher Intervention in 2019

FEATURE:

 

 

A Change in the Wind?

IMAGE CREDIT: Getty Images 

Why We Need to See More Equality and Tougher Intervention in 2019

__________

HARDLY a day goes by without...

some form of sexism or misogyny making its way into the news! The story below caught my eye and worried me. Although it does not involve music directly; it is another case of a woman being embarrassed, objectified or exposed to sexism. Here are the details:

“French DJ and musician Martin Solveig apologized on Monday after asking Norwegian soccer star Ada Hegerberg if she knew how to twerk, just minutes after she won the inaugural Ballon d'Or award as the world's best women's player.

After accepting her trophy, Hegerberg interacted with Solveig as part of the awards ceremony in Paris and promptly responded "no" when asked in French about the suggestive dance.

The two shared a brief dance as the ceremony moved forward, but Solveig's question led to widespread criticism online and he said after the show that he was sorry for causing offense”.

One would hope that we’d see an end to this sort of thing but, worryingly, many men feel it is natural to do something so stupid and ill-advised. Maybe it was a misjudged attempt at comedy and celebration but, given the gravity and seriousness of the setting, it has gone down like a led balloon. It seems that the music industry is no stranger to sexism and a glaring lack of equality.

 IN THIS PHOTO: Foo Fighters (who have been confirmed as headliners for next year’s Reading and Leeds Festivals)/PHOTO CREDIT: Getty Images/Press

Many might clam this year has seen big albums by female artists emerge. From Robyn to Cardi B and Anna Calvi; it has been a great year for female artists – not only solo artists but bands. That is nothing to do with the industry but the talent out there. It is the women responsible for these records that have done the hard lifting and it makes me wonder whether this excellence will be rewarded with festival headline spots? More and more, it seems festivals are being set up for men. Although I know there will be ample female artists stocking next year’s festivals; headliners announced for Glastonbury and the Reading and Leeds Festivals have all been men! I am trying to think whether any corner of the industry has changed and improved in the last few years. In terms of festivals and who they are booking, there is that desire for blokes with guitars. I was looking at Maggie Rogers’ Twitter feed and, as a musician, she was aghast at the line-up announced for next year’s Mad Cool Festival. NME have given us the details:

 “Mad Cool Festival have announced a stellar line-up for their 2019 edition, as well as various improvements to the site and organisation.

After winning the NME Festival Award for Best Line-up, last year’s acclaimed event featured the likes of Arctic Monkeys, Queens Of The Stone Age, Jack White, Nine Inch Nails, Dua Lipa, Depeche Mode, Pearl Jam and many more...

Now, the 2019 edition of the Madrid bash is set to welcome the likes of The Cure, Bon Iver, Noel  Gallagher, Smashing Pumpkins, Vampire Weekend,  The National, Wolfmother, Greta Van Fleet, Mogwai, Teenage Fanclub, The Twilight Sad and The 1975 – with plenty more acts to be announced in the months ahead.

IN THIS PHOTO: The National/PHOTO CREDIT: Getty Images/Press

After coming under fire from a number of acts last year, Mad Cool 2019 will be getting rid of the VIP areas in front of all stages. Other improvements include reducing the number of stages from seven to six, and decreasing the capacity by 5,000 per day. They also plan to have more toilets on site, as well as increasing the size and staffing of all bars.

“Mad cool is working closely with a prestigious and renowned company in order to ensure the adequate functioning of the technical network,” a spokesman said. “In addition to this, wristbands bought online will be delivered anywhere in the world”.

A lot of people will not be shocked by the line-up and the fact that it is male-dominated. I have spoken a lot about gender inequality and why, given the huge locker of female talent, we are still seeing men headline festivals – the same, boring ones that always seem to make the bill. It is not only the inequality in festivals that worries me - but a general sexism and misogyny that has been coming in lately!

lol i love these musicians and have nothing against this festival but this pic is legit such a parody of music festival diversity it made me giggle.
"LADIES AND GENTLEMEN, ONCE AGAIN WE BRING YOU... WHITE DUDES PLAYING GUITARS" https://t.co/zXgyx8nt6M

— Maggie Rogers (@maggierogers) December 3, 2018

Not only do we have to take to task those who book festival headliners but there have been a few musicians accused of sexual assault. One band, Hookworms, have split because of an allegation and other male artists have been accused. It is not just musicians we need to punish if they are subject to these types of allegations but festivals need to be policed more. There is a growing number of women harassed at festivals and, as festivities and alcohol takes effect, more and more are finding themselves inappropriately touched and bothered by men. It is another aspect of the industry that shocks and makes me wonder whether more needs to be done. This article shows that

“Nearly half of female festival goers (43%) under 40 say they have faced unwanted sexual behaviour at a music festival, a new survey suggests.

Overall, 22% of all festival goers have faced assault or harassment, rising to 30% of women overall.

The most common forms were unwelcome and forceful dancing and verbal sexualised harassment.

YouGov surveyed 1,188 festival goers. The poll also suggested only 2% of such incidents were reported to police.

Earlier this year, separate data released in the Crime Survey for England and Wales in February showed more than 80% of victims of sexual assault did not report it to police.

Those statistics also revealed that one in five women had experienced some form of sexual assault since they turned 16...

PHOTO CREDIT: @aranxa_esteve/Unsplash 

The festivals YouGov survey, which was commissioned by the Press Association, also found that only 1% of women reported sexual assault or harassment to a member of festival staff, either before or after the event, although 19% of men did report their experience to staff.

Tracey Wise, founder of campaign group Safe Gigs For Women (SGFW), said: "We have struggled to find anyone with any definite statistics on this before now.

"It gives us something to show to festival organisers so we can say 'you need to take this on board'." 

Jen Calleja, a co-director of the Good Night Out Campaign, called the research "shocking but not surprising", saying it "helps prove what we already know through anecdotal evidence".

She added: "We know that the vast amount of harassment and sexual assault is not reported and we know this comes down to stigma, fear of not being believed and a minimisation of what harassment is.

"The idea we want to put forward is that harassment is everybody's problem, it's not just the person who is being assaulted," Calleja said.

The poll also found that 70% of those who experienced sexual assault or harassment at a festival said the perpetrator was a stranger.

IN THIS PHOTO: Jen Calleja 

It seems like some of the festivals are willing to make changes and firm up their security – an alarming amount of festivals are not taking action and responding appropriately:

The Press Association contacted 21 of the UK's biggest festivals to discuss the new research on sexual assault and harassment at UK music festivals and ask about provisions and policy at their events.

Only five responded - Glastonbury, Reading and Leeds, Creamfields, Latitude, RiZE and Wireless were among those that declined to comment.

Somerset Police recorded two incidents of sexual assault, two incidents of rape and one incident of indecent exposure at last year's Glastonbury Festival.

A spokesperson for The Green Man festival said: "Stewards are positioned throughout the festival and are trained to report any harassment, or violence, to security to be investigated. Crew and service staff are also trained or advised on ways to report minor harassment, or violent behaviour or violence".

I cannot think of any aspect of music – that was prone to sexism – that has improved lately. Maybe radio D.J.s and shows is one exception. Big broadcasters like the BBC have promoted female talent and are making steps but it is still not going far enough. Most D.J.s on the big stations are men and this statistics goes into studios, record labels and festivals.

 PHOTO CREDIT: @andrewtneel/Unsplash

I think there are some improvements in smaller areas of music. I am seeing a lot of female journalists getting noticed and the fact digital journalism is growing means the female voice is being exposed and there are few limitations. There are always problems in journalism but I am seeing some growth and changes there. Perhaps there are steps being taken elsewhere but I cannot help monitor the music news and wonder whether anything positive is occurring. It seems sexual assault, festival sexism and issues regarding women being played on radio – there is a sense of ageism that precludes some established artists making playlists – are still rife and there is no end to be seen. Are listeners and those who are responsible for augmenting the profile of certain male artists to blame? We are the ones who make them popular and share their music so, if there are cases of men being called out regarding sexual assault then should we, as consumers, take action?! The same can be applied to festivals and whether we need to protest more. This article asks the same sort of questions and whether more can be done: 

“Cardi B, rapper and sole savior of "Finesse," starred on the cover of Cosmopolitan's March Issue. Instead of using every precious second of her feature to discuss her blossoming career or the small things that make her one of the most lovable musicians on the scene, Cardi took time to address sexism in the industry.

When asked about #MeToo, she said she was excited about the strides being made against sexual assault in Hollywood. But she also expressed doubt that the movement would translate to music. Why? Women have been speaking out about harassment and assault in hip-hop for years and no one has listened to them.

She told Cosmo, "A lot of video vixens have spoke about this and nobody gives a fuck. When I was trying to be a vixen, people were like, ‘You want to be on the cover of this magazine?’ Then they pull their dicks out"...

IN THIS PHOTO: Rapper Cardi B onstage during the 2018 Global Citizen Concert at Central Park, Great Lawn on 29th September, 2018 in New York City/PHOTO CREDIT: Michael Kovac/FilmMagic

“But assault and harassment aren't just an issue in hip-hop or among girls trying to make it into a music video. It's a systemic issue that hasn't been answered with it's own Time's Up-type movement. It affects even recognizable women — women with multiple record deals, millions of dollars, and world tours.

“There's such a lack of accountability for abusive producers, directors, executives, and other men at the top that they're willing and able to abuse a bright young woman with fan clubs and world tours. What are they doing to girls you'll never hear of, who will never be able to become a Cardi B or a Kesha?

We can't be shocked that this is happening. And we can't pretend it isn't our fault. We’re constantly celebrating abusive artists. We choose to love absolutely horrible people. Why would an unnamed producer be too nervous to hurt someone when Chris Brown punched one of our most beloved pop stars in the face and still has a successful career?”

It is hard to take action and get angry; there is that sense of denial and, if the problem does not face and impact us directly, then what is the personal gain in taking such a risk? I feel, if we are ignorant and passive, it will see the rise in sexism and sexual harassment/assault continue unabated! Are we making the problem worse by putting our heads in the sand?

“But if we aren't willing to do something about the abusers we know and understand as abusers, why should faceless higher-ups at record labels be scared of us? They won't be. They'll pretend to be woke, like Cardi B says they do, for love. But they know when push comes to shove, we won't believe the women they hurt. And if we do believe them, we don't do shit about it. No one takes action. No one stops listening. No one tells people on Twitter tweeting about Lil Dicky and Chris Brown to shut the fuck up. And no one demands change from people who make such an influential part of our culture. That's how systemic sexism persists in the industry”.

 IMAGE CREDIT: @OfficialRandL

We have focused a lot on all the positives and great music that has come out this year. It has been a fantastic 2018 in many ways but, running alongside all of this, there is a clear divide and ill that has not been eradicated. It would be naïve to think we could stamp everything out by this time next year but 2019 needs to be a year where those higher-ups take proper action and those with power and influence need to make it count. From festivals tightening security and banning those who are lewd and sexually provocative to the way headliners are booked – and why women are constantly overlooked. I know there are many men in music who are determined to help bring out improvement but I can see very little difference between what music was like last year and how it is now. Perhaps there have been some evolutions here and there but, considering the proliferation of sexism and sexual assault rearing its ugly head; have we really got anywhere at all?! Maybe a more structured and governmental style of leadership needs to come into music – a point I shall explore later this week – but it is clear stricter messages and punishments need to be dished out. I have not even mentioned songwriting credits and award ceremonies – again, we are seeing these gaps and divides.

 PHOTO CREDIT: @foulsterr/Unsplash

The New York Times, earlier this year, looked at the statistics:

“In an analysis of the top 600 songs from 2012 to 2017 — defined by Billboard’s year-end Hot 100 chart for each of those six years — the study found that of 1,239 performing artists, 22.4 percent of them were women.

The numbers are much lower among people behind the scenes. Of the 2,767 songwriters credited on those songs, 12.3 percent were women. Female producers — the people most responsible for the sound of pop music — are even rarer, at just 2 percent in a subset of 300 songs across this same period, the study found.

While women’s difficulties breaking into the music business are well documented, the starkness of the study’s findings is surprising. At the Grammy Awards, for example, the success of stars like Beyoncé, Taylor Swift and Adele may grab headlines. But a vast majority of awards go to men.

Of the 899 individuals who have been nominated for the last six Grammy ceremonies, 90.7 percent were men and 9.3 percent were women. The study found that women were most likely to appear in the best new artist category. (This year, three of the five best new artist nominees are women: Alessia Cara, Julia Michaels and SZA. The only woman up for album of the year is Lorde)”.

We can all see what is happening and how bad it is...the first change is accepting the fact that change needs to happen. We are seeing too many all-male festival headliners and a desired ‘type’ being celebrated and romanticised at every turn. Minor festivals are headlining women but none of the biggest festivals. The fact smaller festivals around Europe are booking female headliners should act as guidance to the bigger festivals – proving how there are great female artists who are equipped to handle a headline slot. These small movements are promising but, if we want to see a richer and more equal industry next year, these minor (yet positive) movements need to translate into...

PHOTO CREDIT: @rossf/Unsplash 

SOMETHING consistent and large.

FEATURE: Encore Une Fois: Even MORE Specials: Celebrating The Return of the Ska Legends – The Ultimate Playlist

FEATURE:

 

 

Encore Une Fois: Even MORE Specials

IN THIS PHOTO: The Specials/PHOTO CREDIT: Getty Images/Press 

Celebrating The Return of the Ska Legends – The Ultimate Playlist

__________

FEW of us were expecting any material from The Specials...

anytime soon but, as a Christmas treat, they have brought us a right old gem! Vote for Me is out there and, as the title implies, it a song that reflects on modern politics and whether we should trust and believe or leaders. Whether aimed at our P.M. or the U.S. President; it carried weight and can be applied directly to so many world leaders. I notice little nods to their most-famous song, Ghost Town, in bits of the compositions. The 2 Tone/Ska band, since their debut album (The Specials) in 1979. Although a lot of the recording sessions were fraught with tension and division, the band would be the first to admit that the results, in spite of that, are pretty awesome. It is great they are back together because, as much as anything, there are very few in the mainstream who sound like them. The political music we have received this year have been from the likes of IDLES and artists with snarl and a distinct sound. I feel a blend of pertinent and observational lyrics, coupled with rousing and colourful sounds, brings the messages to life and makes the music more accessible. There is an album, Encore, due for 1st February and, if Vote for Me is anything to go by, it is clear the same Specials are present and correct – they have not dropped a step since their last album, Conquering Ruler (2001).

  IMAGE CREDIT: Getty Images

It seems like every album from them documents the times in which we all live and speaks much more truthfully and loudly than any politician. Having listened to an interview Horace Panter (bass) gave to BBC Radio 6 Music’s Georgie Rogers; it seems like everyone is facing in the same direction – his words… – and there is a lot more harmony in the ranks. The years away have not dented their magic and unity and you can just tell the approaching album, already, will be one of 2019’s very best. Everyone has their own favourite song from The Specials but, to me, Ghost Town will always be the one. I cannot get over the chills and scariness from the song; the catchiness of the chorus and the message being conveyed. Documenting violence and rage in London; it seems like there is even more truth and relevance to be found now – given the capital’s spate of knife-related murders and gang troubles. The Specials, back in 1981, were keen to document the troubles happening around them and what a state the country was in. One would like to think the nation has strengthened and cleaned itself up in the ensuing thirty-seven years but, alas, we are in a right old state! It is great to have the old masters back and, maybe, they can help make sense of things.

I will end this piece with an ultimate Specials playlist that collates all their best songs together but, before then, I return to my point about a great return. I have spoken about artists who get back onto the stage and record new music after such a long time and wonder whether it always pays off. This year has seen The Streets, Dido and The Zutons either release new material or tour dates following quite a hefty gap. The results so far have been a bit mixed and it can always be a bit sad preserving this memory of a much-loved artist and having that shattered when you hear their new work. Even though there has been one single from The Specials, you can hear they are in top form and have not disappointed. It is not a case of a band reforming for nostalgia or to relaunch a big song like Gangsters or Too Much Too Young. Their 1979 debut ranks alongside the very finest albums of the decade and, with songs like A Message to You Rudy sitting alongside originals such as Nite Klub; it is an exceptional offering that has stood the test of time. Maybe it is hard to integrate 2 Tone or Ska into the mainstream but I wonder why we do not hear more of it. Bands, when they are being political or serious, tend to match them with the music.

 IMAGE CREDIT: Getty Images

Is there a fear a rather jolly and dance-worthy composition would undermine the nature of the song?! I feel a contrast like that actually strengthens a song and, as The Specials have proven, the music lasts and is a lot more enduring. So many artists have avoided politics and social concerns in a year when we are as divided and strained as any time of this generation. Things are going to the wall and the trust we put in politicians is dwindling. Even though The Specials have a few grey hairs and line; they are proving they can match the might and memorability of the modern-day politically-minded artists and that makes me relieved. I was worried a return might see them weaken or produce something sub-par but any fears have been allayed. Vote for Me is a proper stomper and cutting song that has the trademark tones of The Specials. Let us end things there and rejoice in the knowledge that the boys are back. I hope it is a permanent return and they continue to make more albums. Keep your eyes out for Encore in 2019 and let’s see what else they have up their sleeves! Often, one is disappointed by legends making a return to music but the first signs of The Specials 2.0 are very positive indeed! We need them more than ever right now – in this muddy and divided country – and, with moods starting to drop and people losing a lot of hope; here is a united and spectacular force that...

IMAGE CREDIT: The Specials/Getty Images 

ARE bringing back the bliss.

INTERVIEW: Passive

INTERVIEW:

Passive

___________

THANKS to Passive...

for telling me about their new single, Like This, and what inspired it. I ask how they all got together and if they already have plans for next year – they reveal some albums important to them and select some rising musicians we need to get involved with.

With some tour dates coming along - 15/12: Zigfrid von Underbelly, Hoxton; 18/12: The Horns, Watford; 22/12: The Camden Assembly, Camden; 31/12: Trinity, Harrow; 10/01: The Dublin Castle, Camden –, I was eager to learn more about them and the music they’d drawn to; the advice they’d give to upcoming artists and how they spend time away from music.

____________

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

Hey! This week’s been good! Looking real forward to Xmas and the gigs we have coming up.

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

We are an Indie-Rock band originally from Watford, London. We've all known each other since school and have been playing with each other for years, but started up Passive in the summer of 2017.

Can you tell me how Passive began? When did you find one another?

All four of us met in school and we've been playing together since the age of seventeen. At this early age, we'd all been in different bands with other musicians but came together once recognising we enjoyed the sound we made together. It was only last year (July 2017) we formally announced ourselves as Passive. We all knew from early on that being in a band was what we wanted to do with our lives and we've played every gig possible since.  

 

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

Like This was a song that Elliott wrote about a particular relationship a long time ago. Originally, the song had quite a positive meaning - that ‘when (relationships are bad) it's like this, I'll do what I do best (to fix things of course)’. Upon reflection, Elliott may have been putting his head in the sand a little. We wanted the album art to represent this. The Burial of Atala by Roussy-Trioson depicts a man who's closing his eyes, gripping his partner's legs and hoping for the best. 

Might we see more material next year?

We've got loads more material to record and a couple of things ready to release, so more singles are on the way and, if we’re lucky, eventually we should smash out an E.P.!

Is North London a great area when it comes to influence and musical peers?

North London is great. Like many others, we started out playing home town gigs in Watford and Harrow and have now moved onto venues in Camden and Shoreditch, all north of the river. We've met a lot of great bands on the way and predict we'll meet many more! You realise early on that London’s a pretty tight-knit community of musicians. 

In terms of music; which artists are you drawn to?

Seasick Steve, The Strokes; Jamie Cullum, John Mayer; Travis Barker, Peace; John Mayer, Florence and the Machine and Noel Gallagher. Coldplay…?

As Christmas is coming; what one present would you each like if you could have anything?

Elliott: Boots with no holes in.

Phil: A free hot yoga class.

Josh: Some LUSH bath bombs.

Matt: A Liverpool season ticket.

Do you already have plans for 2019?

We are playing The Dublin Caste on Thursday, 10th January! 

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

We did a New Year’s Eve gig at our local pub/club - the Trinity in Harrow. It gets pretty packed and sweaty but it was a great set; we had a great time and it was certainly a top-notch mem!

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

Elliott: Back to Bedlam - James Blunt. It was the first album I bought from HMV.

Phil: Maroon 5 - Songs About Jane. Mum always plays it in the car.

Josh: I love the first Two Door Cinema Club album but Elliott borrowed it and broke the case...

Matt: (What’s the Story) Morning Glory? It made me wanna join a band.

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

I think we can all agree that we'd love to support Peace and that we'd want four shots of tequila beforehand.

What advice would you give to new artists coming through?

Go to pubs, see some live music, find out who's putting on the night and then ask if they’ll put you on in future!

 IN THIS PHOTO: YONAKA/PHOTO CREDIT: RORY

Are there any new artists you recommend we check out?

Loving things from YONAKA, CHILDCARE; Anteros, Connie Constance; SEA GIRLS and Pip Millet right now!

 IN THIS PHOTO: Anteros

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

We. Love. The. Pub. Also...we’re huge Peaky Blinders and Peep Show fans. 

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).

Elliott: Hopopono by GoGo Penguin

Josh: 5 dollars by Christine and the Queens

Phil: Stop This Train by John Mayer

Matt: Little by Little by Oasis

__________

Follow Passive

Facebook:

https://www.facebook.com/wearepassive

Spotify:

https://open.spotify.com/artist/1xJWj8NwAqbwu52IfzZ6Xg?si=EwyMWjV3TUaxiV1Y-Zp39A

Instagram:

https://www.instagram.com/wearepassive/

Twitter:

https://twitter.com/wearepassive

SoundCloud:

https://soundcloud.com/wearepassive

PHOTOS OF PASSIVE:

Francis Albrecht

FEATURE: Prime Cuts: 2018’s Ten Finest Tracks

FEATURE:

 

 

Prime Cuts

IN THIS PHOTO: Kendrick Lamar and SZA (who collaborated on one of this year’s biggest tracks, All the Stars)/PHOTO CREDIT: Getty Images

2018’s Ten Finest Tracks

__________

BECAUSE we are almost at the end of 2018...

IN THIS PHOTO: Christine and the Queens’ (Héloïse Letissier) stunning single, Girlfriend (ft. Dâm-Funk), is a typically excellent offering from her acclaimed album, Chris/PHOTO CREDIT: Jamie Morgan  

it is the time when many are collating their favourite albums and singles. There is a lot of activity and, whilst there is some consensus, there are some surprises to be found - and it shows what a variety has been provided this year. I have already decided my favourite albums of 2018 but the tracks side of things has been harder! Whilst I agree with a lot of articles regarding the best tracks of the year; there are a couple that have not been included that warrant fonder appreciation. I have kept it to a lean ten as to focus down and not get too carried away – and it was really hard to hone my selections down. Here are some truly awesome songs that show what 2018 has been all about: its variation, passion and strength. I wonder, given the brilliant songs that have arrived this year, whether next year...

IN THIS PHOTO: IDLES (whose year-defining album, Joy as an Act of Resistance, boasts such fierce treasures as Danny Nedelko)/PHOTO CREDIT: Heather McCutcheon for Loud and Quiet  

CAN match its fantastic example.

ALL OTHER IMAGES/PHOTOS: Getty Images

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Childish Gambino – This Is America

Release Date: 5th May, 2018

Labels: mcDJ; RCA

Writers: Donald Glover and Ludwig Göransson 

Genres: Trap/Afrobeat

Robyn – Honey

Release Date: 26th September, 2018

Label: Konichiwa

Writers: Robyn, Klas Åhlund and Markus Jägerstedt

Genre: Pop

IDLES – Danny Nedelko

Release Date: 5th June, 2018

Label: Partisan  

Writer: Joe Talbot

Genre: Post-Punk

Let’s Eat Grandma – Hot Pink

Release Date: 30th January, 2018

Label: Transgressive Records

Writers: Jenny Hollingworth, Rosa Walton; SOPHIE and Faris Badwan

Genres: Avant-Pop/Synth-Pop

Kacey Musgraves – High Horse

Release Date: 25th June, 2018

Label: MCA Nashville

Writers: Kacey Musgraves, Trent Dabbs and Tommy English

Genre: Country-Pop

Arctic Monkeys – Tranquility Base Hotel & Casino

Release Date: 23rd July, 2018

Label: Domino

Writer:  Alex Turner

Genres: Lounge-Pop/Space-Pop

Christine and the Queens (ft. Dâm-Funk) - Girlfriend

Release Date: 17th May, 2018

Label: Because

Writers:  Héloïse Letissier (Christine and the Queens) and Dâm-Funk

Genres: Pop-Funk/Pop

Billie Marten – Mice

Release Date: 9th September, 2018

Labels: Chess Club; RCA Victor

Writer: Billie Marten

Genres: Folk/Singer-Songwriter

Kendrick Lamar & SZA - All the Stars

Release Date: 4th January, 2018

Labels: Top Dawg; Aftermath; Interscope

Writers:  Kendrick Duckworth, Mark Spears; Al Shuckburgh, Solána Rowe and Anthony Tiffith

Genres: Hip-Hop/Rap

Janelle Monáe – Make Me Feel

Release Date: 22nd February, 2018

Labels: Wondaland; Bad Boy; Atlantic

Writers:  Janelle Monáe, Mattias Larsson; Robin Fredriksson, Justin Tranter and Julia Michaels

Genres: Pop/Hip-Hop/Funk

INTERVIEW: In My Days

INTERVIEW:

PHOTO CREDIT: Matthew Halangk

In My Days

___________

I have time for one more interview before the day’s end...

 PHOTO CREDIT: Matthew Halangk

so I have been speaking with In My Days about their new single, Counting Up the Nights, and how it came together. They talk to me about their formation and the sort of music that influences them; which approaching artist they need to get behind and what is top of their Christmas wish-lists.

I ask the guys if there are any albums especially important to them and whether there are tour dates coming up; what advice they’d give to rising musicians and whether they get chance to relax away from music.

____________

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

Hey, there. We’re really fine, thanks. This week has been great so far. We have spent lots of time in the studio composing new tracks. What about you?

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

We are In My Days; an Indie-Pop band from Magdeburg, Germany.

Counting Up the Nights is new. Is there a story behind it?

Counting Up the Nights describes an exciting journey into the unknown, combined with the feeling of coming home. Like being caught in a time loop with an unattainable destination but still holding onto dreams.

How did In My Days get together? Did you bond over similar musical tastes?

We have been friends since childhood and started playing in a band at school. That sound was horrible. Fortunately, we have improved ourselves a bit. Haha.

 PHOTO CREDIT: Matthew Halangk

In terms of music; which artists are you drawn to?

Bastille, Coldplay, Alt-J and many more. 

Might we see more material coming next year?

Yes, definitely. We are going to release a new single in spring 2019.

As Christmas is coming; what one present would you each like if you could have anything?

Dennis: It’s time for a new piano.

Charly: Cool boots for the stage.

Tino: Some friends.

PHOTO CREDIT: Christoph Eisenmenger

Do you already have plans for 2019?

Yeah, we are going to play a tour in several German cities in February. After that, we’re planning to release some new tracks. 

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

This summer, we really enjoyed playing on a huge stage in front of more than 10,000 people.

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

Dennis: Fenech-Soler – Zilla. Every track has its own story of wonderful moments. I have to thank these boys for those nice tracks.

Charly: In My Days – Dream Out Loud. Maybe it’s stupid to choose my own album but it has been a crazy experience composing and recording it.

Tino: There are too many tracks/albums that inspire me.

  PHOTO CREDIT: Matthew Halangk

What advice would you give to new artists coming through?

Compose some tracks (maybe four-five), record them; play some newcomer contests and never stop being ambitious.

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

We do. We are going on the Dream Out Loud Tour - February 7th in Berlin; 8th in Cologne; 9th in Brunswick and on 10th in Hamburg.

 IN THIS PHOTO: Arionce

Are there any new artists you recommend we check out?

Arionce is a pretty cool band from Berlin.

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

No, not really. At the moment, we don’t want to chill away because we have to do exciting university stuff.

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).

Dennis: Empire of the Sun – High and Low

Charly: Amber Run – I Found

Tino: Willie Nelson – On the Road Again

Thanks for having us,

Dennis, Charly & Tino.

__________

Follow In My Days

 PHOTO CREDIT: Matthew Halangk

Official:

https://www.inmydays.com/

Facebook:

https://www.facebook.com/inmydays

Spotify:

https://open.spotify.com/artist/4wiNbKLUkpCERlQvChYEXR?si=cgj5KPywTka4mbQJODFXUg

Instagram:

https://www.instagram.com/in_my_days/

Twitter:

https://twitter.com/inmydays

YouTube:

https://www.youtube.com/channel/UCt8kvXiSQ36HY2A9MuIlrYQ

FEATURE: A Change Will Do You Good: BBC Radio 6 Music: Changes, Progress and a Christmas Celebration to Remember

FEATURE:

 

 

A Change Will Do You Good

IN THIS IMAGE: BBC Radio 6 Music presenters united (Top Row: Iggy Pop and Huey Morgan; Middle Row: Chris Hawkins, Mary Anne Hobbs; Craig Charles, Marc Riley and Tom Ravenscroft; Bottom Row: Shaun Keaveny, Lauren Laverne; Mark Radcliffe, Stuart Maconie and Steve Lamacq)/IMAGE CREDIT: Kind permission granted by Steve Paul Myers (his work is also available through Paper Voice)

BBC Radio 6 Music: Changes, Progress and a Christmas Celebration to Remember

__________

I am trying to find the right phrase or words...

IN THIS PHOTO: Shaun Keaveny (who leaves the breakfast show on BBC Radio 6 Music after eleven years to take charge of the new early-to-mid-afternoon show in January)/PHOTO CREDIT: Getty Images/PBJ Management 

to describe BBC Radio 6 Music’s changes and what will happen in 2019! It might seem strange that we are going to see much-loved D.J.s in new slots but, at the end of the day, we are not losing anyone! It is almost like a family: having that bond and safe set of voices that guides you through life. If one/more of them has to move away or our comfortable routine is disturbed then that is hard to get the head around. I was a bit shocked when it was announced a few of the station’s D.J.s were going to new timeslots. I have written about it before but it is worth repeating. Shaun Keaveny  - who is currently doing the breakfast show and has been for eleven years – will be replaced by Lauren Laverne; Keaveny will take the afternoon slot currently occupied by Stuart Maconie and Mark Radcliffe (who is on sabbatical/medical leave as he is getting treatment for cancer). It is a simple change and, to be fair, lasting eleven years in a breakfast slot is impressive going! It is the oddity of not hearing familiar links and jokes that time of the morning. Laverne will bring a lot to the new show and it will be great but both D.J.s’ strong suits might have to be cut of revised. Is a more refreshed Keaveny going to be a lot less moany (if it is a word?!) and angered?

 IN THIS PHOTO: Lauren Laverne (who will move from her 10 A.M.-1 P.M. slot to the new 7:30-10:30 A.M. breakfast show as part of the station’s line-up change)/PHOTO CREDIT: Boden Diaries

There is something wonderful hearing him have a bit of a go in the morning and, whilst we might lose some of his links/beds; it will provide a chance for new features to come through and a different show. I always tune into Lauren Laverne’s show because of the audience-led segments: Desert Island Disco, Memory Tapes and Biorhythms are wonderful intriguing and it is good to be involved with the show. I guess that cannot continue on breakfast – as people would have to get up earlier and would the tone be suitable? – but I hope not too much is lost. I am interesting seeing what new changes come into the breakfast and afternoon shows and, with Laverne taking a bow and moving from the ten-one slot; it provides a chance for Mary Anne Hobbs to fill that position. Chris Hawkins (whose show I love), who is before Shaun Keaveny in the morning, gets an extra half an hour and, apart from that, there are not a lot of changes – Radcliffe and Maconie, in a controversial move, are on weekends during the morning (I was shocked such a decision was made by the BBC!). No radio station can last with the same format and line-up for so long and the fact there is such retention and loyalty at the station is testament to the dedication and love each D.J.s has for BBC Radio 6 Music.

 IN THIS PHOTO: Mary Anne Hobbs (who takes over Lauren Laverne’s mid-morning/early-afternoon time slot next year)/PHOTO CREDIT: Jessica van der Weert

A rested Keaveny can add something different to the afternoon slot and I think it is great to see two female D.J.s side by side. It is the first time the station has had a female breakfast host and, with BBC Radio 2 employing Zoë Ball to replace Chris Evans, it is a positive change that many did not see coming. Sara Cox is doing her own drivetime show – the first woman on the station to do that for I don’t know how long – and Jo Whiley will also get a chance to step out and present a show. It is good to see changes because, as much as anything, there is more gender equality and a chance for D.J.s to try new slots. If you have the same thing every day, yes, it is comfortable and familiar but there is never anything new and progressive. Maybe it will be a while before all at BBC Radio 6 Music (those affected) adjust to their new roles but, before you know it, it is like nothing has happened. I think Justin Moorhouse said it best when speaking with Shaun Keaveny earlier this morning. The personal shift is like moving furniture around the house. It looks new and fresh but, essentially, it allows for more room and benefits everyone.

There will be, however, a bit of a tear in the eye when we see the ‘final’ shows from Shaun Keaveny, Lauren Laverne and RadMac in a matter of days. I shall come onto the special celebration that is happening but how will we see the breakfast show bow out? Is Keaveny going to get emotional or will it go out with a bang?! (It sounds like I am pensioning them off!). I know Lauren Laverne will keep it strong and together (or maybe not?) but her faithful following are used to her delighting us before lunch and it seems strange that she will no longer be there. It is great, as I have said, Mary Anne Hobbs gets more airtime – she is currently in the position RadMac will occupy next year – and, whilst there are some small movements, it adds to a big change. Many BBC Radio 6 Music listeners have voiced their concern and sadness things will change but it is a positive move that will benefit the station. You only need to look at the listening figures to know BBC Radio 6 Music gets stronger by the year and, as we move towards 2019, that will continue without compromise. I feel, even though no new D.J.s are coming in, many new listeners will come through and discover the station. I feel 2019 is a year when BBC Radio 6 Music should draft in some new talent; either promoting smaller-league D.J.s who cover and do the odd show or scout like-minded stations and nab someone there (maybe a full-time slot for Huw Stevens at the weekend and a more regular run for the excellent Jon Hilcock!).

 IN THIS PHOTO: Mark Radcliffe and Stuart Maconie (RadMac) will leave their afternoon show and host the weekend breakfast show from next year/PHOTO CREDIT: Getty Images/BBC

It is sad to see the end of an era and a configuration alteration but this year has been a huge one for the station. I have failed to mention all the other people who have made it such a bumper year. From D.J.s like Steve Lamacq, Marc Riley; Craig Charles, Liz Kershaw, Nemone and Cerys Matthews through the music news presenters (Georgie Rogers, Matt Everitt; Claire Crane and Elizabeth Alker); to the producers and assistants that make every drop and note of the station’s output as strong and memorable as possible! I have left some people out but, in truth, every one there is essential and it is the variation of BBC Radio 6 Music that makes it what it is. So many radio stations are rigid or beholden to a very particular style of music. Whether mainstream Pop or the less adventurous and cool; there is nothing that comes up to the standard and eclecticism of BBC Radio 6 Music. There were fears and concerns, when the station launched in 2002, that they were too aimed towards blokes, guitar music and not a lot else. That position seems to be occupied by Radio X (or ‘Lads F.M.’, as it should be branded!) but you cannot accuse BBC Radio 6 Music of being only about Alternative sounds. So much of the music I have discovered this year is because of the station and it is impossible to switch over.

From the early morning uplift and humour through to the different tones of the later day; it is a pleasure to hear different voices provide endless pleasure and new music. That blend of classics sounds the best of the underground is what makes it such a strong station. I have featured so many artists who have been played by BBC Radio 6 Music and they always get such a boost and buzz from that. Special guests (from comedians and actors to public figures) offer something different and the live sessions and immense. So many of the bigger artists emerging have BBC Radio 6 Music to thank for getting them where they are! I have to thank every one of the people who works at the station for giving me such a boost and sense of guidance in a difficult year and, as ever, the ultimate ambition is to have my own show (or a one-off) playing some cool music and being sat in a very special and sought-after space. I am confident all the changes will lead to a refreshed and ever-moving station and it will be interesting to see what everything sounds like in 2019. There is not a lot more I can add to that side of things – I have written about the station a bit this year – but I know everything will be awesome and, whilst change is sad and strange, we will all love what is coming up.

PHOTO CREDIT: Getty Images/BBC

I am in two minds whether to apply for tickets to go to the station’s Christmas party on Friday 14th. It is the last shows of the year for D.J.s like Keaveny and Laverne and it is a handover show where all the D.J.s that are moving (not including Mark Radcliffe, I do not think) will be under the same roof and get to say working alongside one another. Rather than having a sad and teary goodbye (there will be some, I guess…) it is going to be like the last day in the office – everyone bringing food and having a laugh before heading off for Christmas. I would love to be there but not sure whether I can wangle the day off and where I will be. I shall make the pitch and see how things go but I know there is an awful lot of competition to be in (the legendary) Maida Vale – it will be one of the last time the iconic studios are going to be used before they are closed and no longer part of the modern tapestry. I know a few of the D.J.s have had a rather tricky time this year for personal reasons and it seems the entire BBC Radio 6 Music family have pulled together...and that includes the listeners. It is that shared love and support that not only makes the station such a tight-knit and compelling compulsion but it will mean, a week from Friday, the fans and D.J.s will be able to get together and celebrate the end of a wonderful year!

 IMAGE CREDIT: Getty Images/BBC

I am not sure what is planned regarding surprises and guests -but it will be great hearing everyone together and in such good spirit. There will be shows between 14th and next year but it will be the last time we will see the classic, established line-up in their familiar places. Head over to the BBC Radio 6 Music page and you can get a chance to attend the all-day party (I think you need to email each individual show for tickets). I know Mary Anne Hobbs is doing a live Desert Island Disco on Laverne’s show and Keaveny has some treats in store; Maconie will be there and it will be good to hear what he has to say. It will be a festival and great day that you will not want to miss out. Send an email in and state your claim to a couple of golden tickets – to a great party that ends a fabulous year for BBC Radio 6 Music! I will wrap things up…but there are loads of reasons to follow BBC Radio 6 Music into the New Year and discover what they have in store. It might be weird for someone to write so extensively about a radio station but, like many, radio is an essential portal that allows escape, connection and eye-opening discovery. Although I have only met Matt Everitt from the station; I feel like I know everyone there and it is like being part of this rather large and broad family! Let’s not be sad that there are changes and things will be different: celebrate the end of a big year for BBC Radio 6 Music and make sure you tune in and listen to the new shows next year. Things are changing but, y’know, staying the same. It will be odd to hear something familiar yet not quite as we remember and, soon enough, we will all get used to it. I know many people have to thank BBC Radio 6 Music for so many reasons – I am very much included in that. It is only left to say a big thanks, happy Christmas and here’s to...

PHOTO CREDIT: @rawpixel/Unsplash

A wonderful New Year!

FEATURE: The Very Best of The Superlatives: Eleven Incredible Greatest Hits Collections

FEATURE:

 

 

The Very Best of The Superlatives

PHOTO CREDIT: @all_who_wander/Unsplash 

Eleven Incredible Greatest Hits Collections

__________

IT is around this time of year...

PHOTO CREDIT: @dmitrybayer/Unsplash 

we are flooded with adverts that promise us particular products are the ‘perfect Christmas gifts’. It can be applied to anything from toiletries to music through to books. It is quite random and vague marketing and, alongside that, we have various albums that are billed as ideal Christmas stocking fillers – despite their being nothing Christmas-related about them. More often than not, these promoted albums are a bit cheesy and most people would not otherwise bother too much with them! It is inevitable that the greatest hits collections are dusted off, shone and put back onto screens as that must-have Christmas collection. One of my happiest Christmas memories was receiving The Beatles’ greatest hits collection, 1. It is all their number-one hits and, as a youngster who grew up around the band, it was/is a C.D. I have played to death! I actually think that the ‘best ofs’ and greatest hits collections are great gifts as it can introduce someone to an artist and is a good, accessible start. As there are a couple more weeks to get your get your Christmas shopping sorted; here are eleven must-own greatest hits collections that would make for superb listening. Maybe you might not be able to afford all – and this is quite a subjective list – but there is so much in the rundown that will delight and stay in the mind. Have a listen to the fantastic albums and, if you are short of a gift idea or two...

 PHOTO CREDIT: @karishea/Unsplash

I have some suggestions!

ALL ALBUM COVERS: Getty Images

_________________

Madonna – The Immaculate Collection

Release Date: 9th November, 1990

Period Covered: 1983-1990

Number of Songs: 17 (Standard Edition)

Label: Sire

Length: 73:32

Download/Stream: Material Girl; Papa Don’t Preach; Express Yourself

Stream: https://open.spotify.com/album/5MzwGwnO9gkh0z6Nl4FF8h?si=V0yw9ZZRTYK4IGt8MVEYQA

Buy: https://www.amazon.co.uk/Immaculate-Collection-VINYL-Madonna/dp/B07CF6X8QT/ref=sr_1_2?ie=UTF8&qid=1543826263&sr=8-2&keywords=the+immaculate+collection

Alternative Madonna Greatest Hits: Celebration (two-disc version)

The Best of the Best: Vogue

The Beatles – 1

Release Date: 13th November, 2000

Period Covered: 1962-1970

Number of Songs: 27 (Original Release)

Labels: Apple/Parlophone; Capitol

Length: 78:39

Download/Stream: She Loves You; Day Tripper; Penny Lane

Stream: https://open.spotify.com/album/7vEJAtP3KgKSpOHVgwm3Eh?si=m-49akTESAKw3iBlQ4ZCZw

Buy: https://www.amazon.co.uk/1-VINYL-Beatles/dp/B015P76FM4/ref=tmm_vnl_swatch_0?_encoding=UTF8&qid=1543826827&sr=8-2

Alternative Beatles Greatest Hits: The Beatles/1962-1966 (The Red Album)

The Best of the Best: Hey Jude

 

ABBA – Gold: Greatest Hits

Release Date: 21st September, 1992 (Original Release Date)

Period Covered: 1973-1981

Number of Songs: 19 (Worldwide Edition)

Labels: Polygram; Universal

Length: 77:10

Download/Stream: Dancing Queen; Take a Chance on Me; Waterloo

Stream: https://open.spotify.com/album/2cKZfaz7GiGtZEeQNj1RyR?si=JKO-IbPmSsa6pOlrUlvaow

Buy: https://www.amazon.co.uk/Abba-Gold-Greatest-Hits-ABBA/dp/B001KEB1NU/ref=sr_1_1?ie=UTF8&qid=1543827029&sr=8-1&keywords=abba+gold

Alternative ABBA Greatest Hits: More ABBA Gold

The Best of the Best: Super Trouper

 

Michael Jackson – The Essential Michael Jackson

Release Date: 19th July, 2005

Period Covered: 1969-2001

Number of Songs: 38 (European and International Version)

Labels: Epic; Legacy; Sony BMG

Length: 145:06

Download/Stream: Rock with You; Off the Wall; Smooth Criminal

Stream: https://open.spotify.com/album/77dNyQA0z8dV33M4so4eRY?si=DklCG6H5T4673nz96oPPJQ

Buy: https://www.amazon.co.uk/Essential-Michael-Jackson/dp/B006I5O3M2/ref=sr_1_1?ie=UTF8&qid=1543827602&sr=8-1&keywords=the+essential+michael+jackson

Alternative Michael Jackson Greatest Hits: King of Pop

The Best of the Best: Billie Jean

 

Kate Bush – The Whole Story

Release Date: 10th November, 1986

Period Covered: 1975-1986

Number of Songs: 12

Label: EMI

Length: 48:53

Download/Stream: Wuthering Heights (New Vocal); Cloudbusting; Babooshka

Stream: https://open.spotify.com/album/0o7IgUEAoOGzsolQgLpnTK?si=DyXF80IkRm2IWAZuSk1Iew

Buy: https://www.amazon.co.uk/s/ref=nb_sb_ss_c_1_16?url=search-alias%3Daps&field-keywords=kate+bush+the+whole+story+cd&sprefix=kate+bush+the+wh%2Caps%2C-1&crid=15VK9JMES3HGN

The Best of the Best: Running Up That Hill (A Deal with God)

Radiohead – The Best Of

Release Date: 2nd June, 2008

Period Covered: 1993-2005

Number of Songs: 17

Labels: Parlophone; Capitol

Length: 75:30

Download/Stream: Paranoid Android; Creep; Street Spirit (Fade Out)

Buy: https://www.amazon.co.uk/Best-Radiohead/dp/B00172MANK/ref=sr_1_1?ie=UTF8&qid=1543828224&sr=8-1&keywords=radiohead+best+of

Alternative Radiohead Greatest Hits: The Best Of (two C.D.)

The Best of the Best: Just

Elton John – 1970-2002

Release Date: 11th November, 2002

Period Covered: 1970-2002

Number of Songs: 34 (European Release)

Label: UTV

Length: 156:46

Download/Stream: Your Song; Crocodile Rock; I’m Still Standing

Buy: https://www.amazon.co.uk/Greatest-Hits-1970-2002-Elton-John/dp/B000071WET/ref=sr_1_1?ie=UTF8&qid=1543828474&sr=8-1&keywords=elton+john+Greatest+Hits+1970%E2%80%932002

Alternative Elton John Greatest Hits: Diamonds

The Best of the Best: Tiny Dancer

 

Eagles – Their Greatest Hits (1971-1975)

Release Date: 17th February, 1976

Period Covered: 1971-1975

Number of Songs: 10

Label: Asylum

Length: 43:08

Download/Stream: Take It Easy; Desperado; One of These Nights

Stream: https://open.spotify.com/album/2Lgsa7jbu86SK5zJVFCh3S?si=EUxcnIvTRoWjhenyrHiVXQ

Buy: https://www.amazon.co.uk/Their-Greatest-Hits-1971-1975-Remastered/dp/B00DAP2D2A/ref=sr_1_2?ie=UTF8&qid=1543828791&sr=8-2&keywords=eagles+their+greatest+hits

Alternative Eagles Greatest Hits: The Complete Greatest Hits

The Best of the Best: Lyin’ Eyes

 

Blur – The Best Of

Release Date: 30th October, 2000

Period Covered: 1990-2000

Number of Songs: 18

Labels: Food; Virgin; Parlophone

Length: 77:08 (Original Release)

Download/Stream: Beetlebum; Coffee & TV; Charmless Man

Stream: https://open.spotify.com/album/1bgkxe4t0HNeLn9rhrx79x?si=DDqRDeQzSaeJKROLIDDZQA

Buy: https://www.amazon.co.uk/Blur-Best/dp/B001J5H4NG/ref=ice_ac_b_dpb?ie=UTF8&qid=1543829104&sr=8-1&keywords=blur+best+of

The Best of the Best: Parklife

 

Prince – The Hits/B-Sides

Release Date: 10th September, 1993

Period Covered: 1976-1993

Number of Songs: 56

Labels: Paisley Park; Warner Bros.

Length: 225:53

Download/Stream: When Doves Cry; 1999; 7

Stream: https://open.spotify.com/album/3o0o5WPnqfGOeyx3UMJgvO?si=vNpW9rPIQKWCP-s7SxsfgQ

Buy: https://www.amazon.co.uk/Hits-B-Sides-Explicit-Prince/dp/B002CAEYU8/ref=sr_1_1?ie=UTF8&qid=1543829370&sr=8-1&keywords=prince+the+hits

Alternative Prince Greatest Hits: The Very Best of Prince

The Best of the Best: Purple Rain

 

David Bowie – Best of Bowie

Release Date: 22nd October, 2002

Period Covered: 1969-2002

Number of Songs: 39

Labels: EMI; Virgin.

Length: 156:20 (U.K. Version)

Download/Stream: Changes; Starman; Rebel Rebel

Stream: https://open.spotify.com/album/2PEAajl89bIS4eWMk7zlbV?si=_Q4lvn2zT7uph0lUFx-tOw

Buy: https://www.amazon.co.uk/Best-Bowie-David/dp/B00006J3KT/ref=sr_1_1?ie=UTF8&qid=1543829672&sr=8-1&keywords=david+bowie+greatest+hits+cd

Alternative David Bowie Greatest Hits: Legacy (The Very Best of David Bowie)

The Best of the Best: Heroes

INTERVIEW: Hayes & Y

INTERVIEW:

Hayes & Y

___________

 THE chaps of Hayes & Y have been telling me...

about their single, BLUE, and what compelled it; whether there is anything more coming along and whether they have any favourite albums/artists; how the scene in Manchester has changed and what it is like now – they tell me when the band started life and look ahead.

I wanted to know whether they get time to chill away from music; which artists they’d support given the chance; what they want for Christmas and whether there are rising artists to look out for – they select some great songs to end things on.

____________

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

Blago: Pretty great. Our new track came a month ago and we’re still enjoying the amount of attention it’s getting.

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

Ivo: We’re an Indie-Pop/Rock four-piece. Blago (vocals and rhythm guitar) Rado (lead guitar and keys) and myself, Ivo (bass guitar) all hail from the distant lands of Bulgaria and along with our Finnish drummer Dennis we have moved to the U.K. to soak up the music culture, get inspired and create some fine tunes. Even though we are sometimes labelled as Yacht-Pop or Rock, we don’t own any yachts. Dennis has a small boat though, so we are slowly getting there.

What is the story behind your new single, BLUE?

Ivo: It’s the product of our continuing efforts to take control of as much of the production process as we possibly can. It’s also a testament to our evolution as music creators. All in all it’s sort of the ultimate D.I.Y. project for us. Everything apart from the drums was recorded at our apartment in Manchester. We even converted our attic into a vocal booth to track the vocals. The artwork, created by the talented Sofiya Dobreva, was inspired by our trip to the Bulgarian seaside earlier this summer.

Blago: BLUE is about loneliness and imaginary friends. It’s a very ambitious track composition-wise, with very different and distinct mood changes.

Do you recall when the band started life? What attracted you to one another?

Ivo: Wow…that was so far back. We actually started playing together in high-school as a sort of something to keep us out of trouble and to pass the time after school. I think it’s because we grew up together that we had such an easy time getting along and starting the band. Our current drummer Dennis came on board three years ago while we were in London and, being a beast behind the drums as well as a naturally awesome dude, he immediately fit right in with us.

If you were to select influences; which artists would be in the list?

Rado: We try to listen to as much music as possible and incorporate different concepts and ideas in our own songs. We can definitely list as inspirational and influential artists like The 1975, Fleetwood Mac; Blossoms, Parcels; Michael Jackson and many more.

Dennis: I find it funny how Ivo and I have very similar tastes in music, but they are very different from Rados and Blagos. But, this difference makes our approach to playing and coming up with parts and sounds for songs very interesting in my opinion. Ivo and I are very into Funk and Neo-Soul like Lettuce and Hiatus Kaiyote.

Manchester is where you are based. Is there a pretty good scene there at the moment? How has it changed the past few years?

Ivo: We’ve only been here for two years so far, so I can’t really say I’ve noticed any drastic changes. That being said, it is an awesome scene. We actually started off in London for a year and didn’t really take to the scene there, whereas Manchester is so much more personal, intimate and welcoming that we immediately felt at home. Not only that, but there’s so much amazing stuff happening here almost every night.

Blago: It’s a very cool place to be for a young band. There are so much other great bands here and we try to keep track of them all. We are pretty competitive and ambitious and think we can leave a mark in Manchester.

As Christmas is coming; what one present would you each like if you could have anything?

Rado: I think we would all agree that we always need to improve on our gear, so anything coming that way would be great.

Blago: Musicians always want new toys to play with; the list is too long to even get started. I’m in the process of considering if keytars are cool or uncool.

Dennis: I wish to have enough money to go on vacation with my girlfriend, no snow in Finland during Christmas and world peace.

Do you already have plans for 2019?

Ivo: We have a couple of shows lined up already: a trip to Bulgaria to play on 23rd March and also a gig at The Castle in N.Q., Manchester on 5th April. Not only that, but we’re also planning on visiting London, Leeds; York and Liverpool around that time as well. Then, after this sort of micro tour, we’ll be buckling down at our home studio to finish up and record at least two new songs.

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

Ivo: I’d have to say when we first found out that our song Always So Simple, Always So Cold was featured on BBC Introducing Manchester and then we promptly celebrated with one too many drinks at home.

Rado: I would have to mention our support slot for Kasabian at the biggest Bulgarian music festival in the summer of 2015. Definitely a milestone for us, which came a bit too early maybe - but it was a day to remember, amazing memories from there.

Blago: For me, it’d have to be one of our sold out gigs. There’s nothing like playing to a crowd of hundreds who have come just to watch you.

Dennis: For me, it is the same as Blagos. To play a gig full of fans that are there for you and them telling you after the gig how much it meant to them or how much they enjoyed it. Hearing that makes me super happy.

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

Rado: My first childhood memory from listening to music is The Wall by Pink Floyd and that baby crying in the beginning of The Thin Ice - it always made me think that someone is actually crying from the neighbours’ apartment. My parents got me into Pink Floyd when I was very little, so they remain my favourite band up to date and that album especially.

Blago: The 1975’s debut album opened my eyes and ears a lot. I haven’t listened to it in a few years, but back then it was really a game-changer. One of the best debuts of all time.

Dennis: Toxicity by System of a Down. This album really shaped my taste in music from the first time I heard at an early age. John Dolmayan used to be my favourite drummer and really influenced me as a kid. This album made me want to pick up my drumsticks and has contributed a lot to the drummer I am today.

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

Rado: Maybe The 1975. Their show is amazing. Here in the U.K., we’ve been to a lot of concerts and the support bands have been always well prepared and carefully selected to fit the main acts’ style.  

Blago: We’d love to support a local band like Blossoms. They are one of our faves and it would be a great occasion. As for the rider, if we could support someone like that, we’d be perfectly fine to not even have one.

What advice would you give to new artists coming through?

Rado: We’ve been a band for a while now and I think the most important thing is to be focused and have a goal that you strive to achieve. What has kept us as a band, apart from being friends for a long time, is that we always set targets and little milestones that constantly keep us moving and improve us as a group of musicians.

Dennis: Practice, network and just don’t be an asshole (smiles).

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

Ivo: As mentioned above, we have some tour dates lined up for 2019 already. But, for the more curious and impatient you can catch us at the Night & Day Café in Manchester on 4th December.

 IN THIS PHOTO: Parcels

Are there any new artists you recommend we check out?

Ivo: I’m a huge fan of Parcels. Even got the chance to watch them live here at the Academy a couple of weeks back. Phenomenally funky!

Rado: Yeah. We were all at this concert; it was a great one! I recently got into No Vacation. Chilled vibe and really nice guitar melodies there. Yam Yam is my favourite of theirs.

IN THIS PHOTO: No Vacation/PHOTO CREDIT: Christine Ting

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

Ivo: Personally, I like to read fantasy novels and play video games even though I sometimes get carried away a tad with the latter.

Rado: I am into sports, so I enjoy watching football games or even play it myself if I have to chance to.

Dennis: Being from Finland, and always being surrounded by nature, I love unwinding by going fishing and being in the forest; picking berries and mushrooms. Unfortunately, you can’t really do that in London - so here I mostly watch movies and do a lot of practice on drums.

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).

Ivo: Tom Misch (ft. De La Soul) – It Runs Through Me

Rado: The Neighbourhood - R.I.P. 2 My Youth

Blago: Parcels – Gamesofluck

Dennis: Hidden Orchestra – Dust

__________

Follow Hayes & Y

Official:

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Facebook:

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FEATURE: 1520 Sedgwick Avenue (...or Something Less Iconic): Making Room for an All-for-One Music Haven in Britain

FEATURE:

 

 

1520 Sedgwick Avenue (...or Something Less Iconic)

PHOTO CREDIT: @heftiba/Unsplash 

Making Room for an All-for-One Music Haven in Britain

__________

IN case you were wondering the relevance of ‘1520 Sedgwick Avenue’...

IMAGE CREDIT: Andreas Luchini 

it has been accepted as the birthplace of Hip-Hop (a ‘Back to School Jam’ was held on 11th August, 1973 by DJ Kool Herc) – it is now the site of a one-hundred-and-two-apartment block in The Bronx, New York. I have been thinking about musical origins and birthplaces like this and wondering whether we give enough thanks and attention these iconic spaces. I have also been thinking about sociability in the music industry and whether we all spend enough time interacting and relaxing. I have pitched the idea before but I wonder whether we have an all-for-one, café/bar that is dedicated to music. We have venues and music-themed locations but what about a café/bar that is committed to music through the years? There is the Hard Rock Cafe and that has been around a long time – maybe it is seen as old-fashioned and not that cool. It would take a large, vacant space and I think a city like London, Manchester or Bristol could house it. The idea is to have a cool café that houses small live gigs but is a one-stop shop for music-lovers; where you can go in and enjoy the traditional pleasures of a café – coffees and foods – with a specialised menu. It would be similar to a themed restaurant and have special drinks/foods names after musicians/albums.

 PHOTO CREDIT: @kellysikkema/Unsplash

Rather than just being a café; one could go into the location – I am not sure of the name yet – and experience the full spectrum of music. There would be jukeboxes (either electronic or traditional) where you could access pretty much any song. It would be an eclectic and democratic way for people to hear music but there would be a chance for new music and artists to get their sounds heard. The jukeboxes would act like Spotify and streaming services where you could have access to new music from around the world but, if you wanted specific older sounds, then that would be catered for. There would be menu systems where you could locate a specific track/sound – if you wanted some 1980s U.S. Pop, for example – and people would be allocated one song pre order/coffee (so that someone could not monopolise the jukeboxes). There would be a live stage so there could be special gigs in the evenings – from upcoming artists and bigger acts – and a lot of music history would sit alongside. I would like there to be an educational aspect where screens would be set up (with headphones) where documentaries and clips would be played; showing everything from a look at the start of Hip-Hop to playing the best music videos ever. You would have book shelves and magazine racks where they’d be stocked music books/annuals and magazines (from today and years past) so that you could get a real clash of the modern and classic.

 IN THIS PHOTO: Jack White’s Third Man Records in Detroit/PHOTO CREDIT: Kelley ONeill

There would be aspects of a place like Hard Rock Cafe but the idea is to have scenic paintings/depictions on the wall – like iconic Hip-Hop scenes and classic images – and a chance to really experience music’s brilliant past and vast future. The sociable and communicative aspect is key and there would be comfy seating areas but the design would be key as to allow the sound to not drown conversation (or the other way around). That would all happen on the ground level and it would be a great space to hear fantastic music and see music videos but there would be that educational and informative side – where you could learn about music’s past and get a real interactive mixture. There would be an upper level that I am keen to explore. I am not sure whether it would be best to have a small studio/radio stations (where records and podcasts can be made alike) or so something similar to Third Man Records. In Jack White enterprise; there is a Third Man Records store that has the company’s colours (lots of yellow) and black and records from the label’s artist. It is a great space in Nashville (there is another in Detroit) and we have nothing like that here. I mooted the possibility of having a place like that here and the big attraction of Jack White’s business is there is a record-making plant where you can record a track, live, and see it pressed and then have it sent to you. It is really the life-cycle of a song and the physical; process of making music.

 PHOTO CREDIT: @natanaelvieir/Unsplash

It would be cool to have something like that in Britain or a reduced version at the very least. I think having this attractive and unique space in a big city here would create a harmonious and busy environment and help people discover new music – from new artists and older alike. It may take a bit of planning but I feel there is nothing like this in the U.K. aside from music venues. They can be noisy and there is not a lot of chance to relax. Bars and pubs that put up artists are not the same and it makes me wonder whether there would be a great demand. I think there is too much separation and loneliness when it comes to music listening. Most of us do it in the comfort of our homes or on the go and we rarely unite and talk about music. It would be cool for the café to have a cassette vending machine or there, on the upper tier, to be an old-school music shop where you could get vinyl but also make your own mix-tapes; get cassettes of classic albums and great merchandise – in addition to classic memorabilia etc. London or Manchester would be a good spot for the venture and I feel, yeah, it would take off. It would expensive to do but, after a bit, more and more people would come. As much as anything; it is a space for stranger and friends to meet and hear some fantastic music. An affordable and all-inclusive location where you could get your music fix and learn a lot at the same time; that, to me, seems to be a perfect blend. The only question revolves around the name but, the more I think of it, I quite like...

 PHOTO CREDIT: @anthonydelanoix/Unsplash

1520 Sedgwick Avenue.

FEATURE: New Musical Education: Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

FEATURE:

 

 

New Musical Education

IN THIS PHOTO: Jay-Z in New York City, 2003/PHOTO CREDIT: Armen Djerrahian 

Why Music’s Rich Lessons and Perspectives Deserve Assimilation into the Curriculum

__________

AN interesting article caught my eye...

PHOTO CREDIT: @danielcgold/Unsplash 

that made me think about music and the many ways in which it can teach and enrich (I will mention it later in the piece). Think about music as a means of therapy and rehabilitation. It can be used to simply lift the mood or, for those with neurological disorders and memory problems, it is a way of unlocking something hidden. Many patients with dementia and other disorders use music to help uncover memories and access parts of the brain traditional therapy cannot. We know music’s potency when it comes to tackling depression and the capacity of its healing powers cannot be underestimated. I wonder whether we pay enough attention to the words and what lessons are imparted through music. Whereas parts of the national curriculum seem dated and generic; is there new wisdom and revelation to be found in music? We all take certain lyrics to heart and have our favourite lines – how often do we use entire albums and artists to, essentially, act as scripture? It might sound preposterous to think artists can imbue the same education and importance as philosophers and teachers but I feel music, more and more is eroding from the curriculum. The standard music lessons most of us experienced at school seems to be a thing of the past and most people who get an education in music do so at college/university and special schools. That often involves money and it seems ridiculous music has to be paid for!

 PHOTO CREDIT: @element5digital/Unsplash

I do wonder whether there should be a reintroduction of music onto the syllabus. It does not have to involve playing or practicing an instrument; it can be as simple as listening to music and discussing it. I feel there are entire periods of music that document society with great clarity and controversy than politicians and public figures. Even listening to music as a form of decompression and anxiety balm would be a wise thing considering the growing epidemic regarding poor mental-health. I feel music listening is becoming more private and that there is an opportunity to bring it back more comprehensively. Maybe there is subjectivity regarding music’s wisdom but I find a lot of what is taught in school is rigid and generic. It is, of course, essential to learn basic maths and science; to discuss classic literature and have talks around sexual education but in terms of general life skills and guidance; where are the musicians? I think, actually, there is great philosophy and poetry that can form and mould young minds. Consider lessons of love and relationships that have been revealed in music since the dawn of time. A lot of children and teens rely on their peers and parents when it comes to heartache and how relationships go but, thinking deeply, can we use music? Think about lyrics and lines that have wise shoulders and how powerful that can be.

Fewer young people are listening back to older music and there is a lot of anxiety and sameness in mainstream music. Maybe they get some guidance from modern Pop and the mainstream but I think a wider study and appreciation could help them immensely. From The Beatles and Carole King through Prefab Sprout and Tori Amos; do we see songs as throwaway and for a specific occasion when there are everyday lessons and important goldmines that are not being explored? Consider that as ‘life lessons’ and there are messages regarding sex – safe or otherwise – that provides a more accessible and less embarrassing form of education. Many might say it is rather controversial and dangerous using music as a firm of sex education but, so long as educators are sensible and employ some censorship, I do not see why music cannot be used to accompany traditional lessons. Maybe there is less wisdom to be found regarding science and maths but, in some ways, there are things that can be extrapolated. I think, in terms of the subjects that naturally fit into music, we’d have English and history. From the English side of things, I do not think enough contemporary or ‘classic’ music is incorporated. Think about the poetry and gems of Bob Dylan and Joni Mitchell as a form of education. Not only is the language beautiful and intelligent – there are so many important lessons and ideas young students can take to heart.

I can understand why classic literature and poetry needs to be studied but how can one be snobbish when it comes to popular music? The world has moved on in terms of technology and the way many of us interact but, in many ways, education has not really stepped on in decades! Music stores are parlours of discussion and connection and, years ago, music used to be a very physical and sociable thing. As the years go by, we are becoming distant and music enjoyment is singular and lonely – unless we are bonding at gigs and talking there. Think about another school subject and music’s biggest draw: history. From the plight of black lives being narrated through classic Hip-Hop albums and how international politics has been portrayed in Folk. Pop music, at every stage, portrays modern life but think about the way songwriters talk about life and how that differs from rather dry and stoic texts. British Hip-Hop and Grime give you an understanding of estates and the lives of a certain sector of society. We can listen to classic albums of the 1960s and, not only get a thrilling blast of sonic gold, but get a real and direct sense of what was happening in the world and how the world differs to how it is today. Hip-Hop, especially, provides perceptive regarding tensions and divisions in America in the 1980s and 1990s. Classic albums from the likes of Public Enemy, I feel, are more potent and tangible than huge text books and rather boring lessons.

 PHOTO CREDIT: @timothypaulsmith/Unsplash

In fact, you can listen to any period of music and get a very deep and vibrant sense of how things used to be. Apply music to subjects like art and fashion and you can see how things have changed. From the Punk and Goth ages through to fashion icons like Madonna and David Bowie; why not use music as a form of education? I feel every subject on the curriculum could be heightened and expanded by using music. Perhaps you feel there is little ‘wisdom’ to be found in songs by Rock artists and it would be folly to replace a more structured and academic foundation. I am not saying that we replace what is being taught...simply understand how music can inspire and influence an individual and apply that to an entire generation. This article in The Guardian sees Ted Kessler discuss music as a form of education – how artists have taught him lessons and made an impact. Kessler’s book, The Ten Commandments: the Rock Star’s Guide to Life, uses lessons and words from big artists as a form of religion and education. Here are some snippets from the feature:

 “Noel Gallagher famously sang that listeners of Oasis should not put their life in the hands of a rock’n’roll band. I fundamentally disagree. Everything good in my life has been recommended to me by my musical heroes. My moral compass has been set almost entirely by pop stars. No teacher, no institution, no writer (OK, maybe some writers, actually) has had the same impact upon me as rock stars....

Who forged your direction in life? Your parents? School? Your peers? Maybe it was a religious calling, or even a political party. If so, it’s not too late to rethink your choice and invest in musicians instead.

I drew everything I believe in, initially, from Paul Weller, lead singer with the Jam. He changed my life, forever. The London I grew up in the late 1970s was grim: the rubbish piled up, the National Front daubed their initials upon school walls, Thatcher snatched our milk. But Weller rocked up with visions of social utopia attached to the kind of chorus that any idiot 11-year-old could remember. His clothes were fantastic. He was pictured reading Alan Sillitoe and George Orwell. He proclaimed that his fans should investigate an array of soul, reggae, funk and 60s beat records.

School failed me, marriage failed me – or rather, I failed them – and no job is for life. I am a strong advocate of therapy in moments of crises, but have found it frustratingly opaque as a navigational tool when not negotiating emotional emergency: tell me what to do! The wisdom in song, though, the insights of musicians… that light never goes out. As mind-expanding as books, film and art can be, as tightly as you can hold those to you, they have not shaped my tastes, my politics, my worldview, my wardrobe as consistently as watching the Specials on Top of The Pops in 1979. I remain lost in music, and glad to be in that trap”. 

IN THIS PHOTO: A shot of Dumbo, Brooklyn (U.S.A.)/PHOTO CREDIT: @bantersnaps/Unsplash 

There are a lot of reasons to learn an instrument and get involved with music from an early age. It opens up parts of the mind and can take your life in fascinating directions. There is the social side of things but, when we look at the wider curriculum; are we making the most of the beautiful and endless words from iconic names? I have only scratched the surface but feel musicians, as they are normal people, are not biased and lying. They have lived lives similar to us and experienced the same things. Their knowledge and words can help motivate students and there are so many lessons to be learned. From Hip-Hop’s chronicling of the racial tensions felt in America; that can be applied to the here and now and how many textbooks are as current as popular songs?! Look at fashions and genres as a documentation of specific periods and how the world has changed. Of course, the music itself is as important as the lyrics. I have spoken about the multifaceted and therapeutic side of music and how it can aid a person in so many ways. Learning an instrument can bond people and tech so much and merely playing music can help lift the mood and soothe depression. Some claim that form of ‘education’ is rather lazy and random but few schools are harnessing music in any real or significant sense.

 IN THIS PHOTO: Lorde (one of modern Pop’s stars whose songs could act as guidance for young pupils)/PHOTO CREDIT: Getty Images

I have learned so much from music and feel, as the years have progressed, I am still picking up new lessons and insights from my favourite acts. Maybe (these lessons) have not been as substantial and evocative as classes I took at school but I feel music holds so much potential. Even if every school around the country introduced a class such as Music Education as standard and integrated that alongside regular lessons then it would make a huge difference. Children and teens would learn about new cultures and countries; they would get a more interesting and eye-opening tributary into a new world and I think music would stick in the mind more quickly than a lot of what teachers are saying. That is not a slight against them but it can be rather challenging taking it all in and music would provide a great education but is a different way of learning. As much as anything, music as an art needs to come back into schools and, as we push it out to the colleges and special schools; so many children are being denied fundamental pleasures and lessons. Maybe the sermons from New York Hip-Hop artists seem reserved to a time, place and location but, open your ears and there is actual history and reality being laid down. You might think many loves songs are too personal and lack substance but there is so much you can take from them and teach to your young students. Open music up to its fullest and do not keep it in record crates and private collections. Introduce it into the national curriculum and I feel music, in so many ways, can enrich, guide and nurture...

 PHOTO CREDIT: @pistos/Unsplash

SCHOOLS throughout the land.

FEATURE: Sweet Harmony: Was There a Moment When Music ‘Peaked’?

FEATURE:

 

 

Sweet Harmony

IN THIS IMAGE: A rendition of the cover of Oasis’ 1994 album, Definitely Maybe/IMAGE CREDIT: Danu Labda

Was There a Moment When Music ‘Peaked’?

__________

THIS is something I always talk about...

PHOTO CREDIT: @_rxshxxd/Unsplash 

but it is one of the most relevant and interesting aspects of music. It would seem strange to urge people to abandon the music they grew up around and the stuff that resonates purely. Those tested and familiar songs are ones we hold dear and they provide comfort and memory. This is not a matter of nostalgia and harking back to the past. What I am suggesting is that most of us tend to get into a groove and we sort of get comfortable with our tastes. If you were given the choice of never hearing any new music and only listening to what has come or doing the reverse; which option would be the most appealing? Shockingly, a lot of us would rather stick with the older stuff and sacrifice what is coming up. I have explored years like 1991 and 1967 as titanic and historic times for music. These years created movements and incredible albums; peerless quality and recordings that we hold dear to this very day. I wonder whether music has yet to reach its absolute peak or whether it is an always-evolving process. Can we objectively look at music and say that there is still a long way to go? Do we all have our favourite times and eras and feel nothing can come close? It is an interesting argument and it is not as easy as saying older music is best or the new era is where it’s at.

PHOTO CREDIT: @adigold1/Unsplash

Music is a complex and ever-changing industry and we have definitely seen some big changes. Technology is always growing and allowing us to experience music in different ways; access anything we want and communicate with people around the world. There is a school of thought that suggests things can only get better and, given the technology and access we have, artists can produce better material and albums that will be preserved forever. Given the rate of growth and all of the sounds that have come before; we are in a great position where there is limitless choice and a chance to break new ground. People claim the best albums ever are still to come and we will see something revolutionary happen. In recent weeks, I have talked about the fun coming from music and I have focused on certain years when music was absolutely golden. Maybe we are all too subjective and there is no definitive answer. I respect those who say music is growing and we could see the very best it has to offer in the future but I wonder, given what has come before; can we ever equal the absolute best years?! I have mentioned years like 1967 and 1991 because, as I said, there seemed to be this movement and cohesion. Now, in 2018, I do not feel like there is the same sort of excitement and evolution as there was years ago.

 IN THIS PHOTO: The Beatles in 1967/PHOTO CREDIT: Getty Images

When we look at those who say music has not yet experienced its best days, I wonder how far we can go and what can arrive. I do not feel like we will see entirely new genres form because it is so hard to find that new mobility. Artists are creating sub-genres and ideas but can you start from scratch and find a completely new sound? I do not feel this is possible so, when it comes to something to rival a Summer of Love or Grunge explosion; where is that explosion going to come from? In terms of technology; there is the capacity to take music to new heights and splice anything together but is that going to take away the naturalness and realness of music? I have also mentioned how sampling is harder and it is a lot more tricky getting clearance to fuse older songs into new work. It is ironic that, in a modern and developed age, we are stepping back in many ways. A further obstacle arises when considering the established albums and these years we all hold in such regard. The climate is different now and the music landscape is very different. Whilst it is possible we have seen a peak, there is that optimism that suggests a revolution can take place. We have all this material out there and there is an endless reservoir to choose from.

 PHOTO CREDIT: @dchuck/Unsplash

I think the biggest hindrance regarding musical development is the division, size of the market and the emotions being put into songs. Given the choice and mass of artists out there, it is getting harder and harder to focus and zone in on bubbling movements and the best artists. Big and influential genres have run their course and the mainstream is not quite as legendary and respected as it was in years past. Fewer of us are relying on charts and magazines when it comes to music and self-discovery means we all are pulling in different directions. This may sound gloomy and lost but I still think there is a chance for brilliance. Maybe it will not be a profound shift and anything to rival the past but music is always changing and who knows what will come along. I asked whether music has peaked and, as a result, we are sloping downhill and everyone will have their say. Many say that peak has yet to come whilst others feel it is impossible to make that call given the fact music is a subjective medium. Who is to say the sounds of 1967 are better than today? Does generational bias cloud things or is there some definite truth? Whilst it might not be possible to identify a distinct year/time when things were best; I do feel like there was a golden moment that many artists are still taking from.

 IN THIS PHOTO: David Bowie in the 1970s/PHOTO CREDIT: Masayoshi Sukita

I have mentioned the 1960s and, in every decade, there has been true genius put forward. When one speaks of peaks and a definite high; you have to consider a time when things crystallised and there was this strong and enduring whole. 1967 is a fantastic year and I feel the 1970s cannot be overlooked. I have also talked about icons and how we do not see them anymore. Consider the greats like David Bowie and legends like Aretha Franklin and I wonder whether it is possible to have these sort of figures today. There are Pop leaders and big figures but it would be impossible to create someone like Bowie who evolves and goes through these creative shifts. The market and landscape is not the same as it was and the days of the icon are definitely in the past. Modern artists are fascinated by all periods but, more than anything, there is a period of five or six years where I can see are more popular than anything. Maybe it is my bias but was there a stronger and more staggering time than 1989-1995? Those slightly older say that their days were best whereas plenty argue music is at its strongest right now. I have talked about icons and their decline – many might note that all the legends of music, largely, peaked before this time period. I think this was the last time we had Pop icons truly reigning and inspiring the masses.

Kate Bush created The Sensual World in 1989 and it was a definite golden period in her career. She put out Hounds of Love four years before and many assumed she would not be able to equal that record. Rather than feel the pressure and suffer a decline, she created a brilliant album that many say is her finest. Michael Jackson left Bad and Thriller behind (by this time) but Dangerous (1991), to me, is his best record. It is his most daring and eclectic and demonstrated a tougher and angrier artist. Whereas legendary artists like Kate Bush and David Bowie were putting out exceptional work during 1989-1995; I feel Jacko really hit his peak during this time. Some of Prince’s best albums came out at this time – Diamonds and Pearls (1991), Love Symbol Album (1992) and The Black Album (1994) – and one Pop megastar, Madonna, was reaching her peak. Think about her career-defining album, Like a Prayer (1989) and how that changed music. It would be quite a few years before we saw the end of chart-busting, MTV-owning icons but Madonna was unstoppable by 1989. She produced Erotica in 1992 and Bedtime Stories two years later and some consider these records to be among the best ever. Between 1989 and 1995, we saw some of the very best Pop and the music landscape was a lot more powerful and popular. We had great music T.V. stations like MTV and magazines like NME were guiding our tastes.

Pop would continue to produce huge artists and albums for years to come but I feel there was a definite drop/slowing by around about 2004. Artists who peaked during my favoured period were inspired by the previous generation and, as we can hear now, have impacted modern artists. I interview a load of artists, ranging in age, and it is the music of the late-1980s and early/mid-1990s that compels them hardest. I think popular culture as a whole was creating an optimism and wonderful spirit. We had great comedy shows and T.V. series; there were political shifts and all of this helped contribute to the music. Not only was the Pop mainstream strong and varied but other genres, from Britpop, Grunge and Dance were majestic. Dance was huge in the 1980s but it strengthened and changed by the next decade. The influence of European acts on the Dance scene gave us this brilliant variety and, whether you like the mainstream tracks that had a giddiness and fluffiness or preferred the darker tones of The Prodigy and The Chemical Brothers; there was variety for all. The start of the period (1989-1991) saw a giddiness and delight that married the accessibility of Pop with something a little bit more physical and club-based. The middle of the 1990s would see harder-hitting acts like The Chemical Brothers and Orbital transform the genre by adding more chemicals and pummel to the agenda.

 IN THIS PHOTO: Nirvana/PHOTO CREDIT: Getty Images

I feel Dance music and Electronic sounds had their last real rise by the end of the 1990s – we have never seen music the scene as strong since. I love the memorable and big Dance songs throughout the 1990s and, even though there was plenty of cheese, it has remained to this day and many of us still gravitate in that direction. If that wasn’t enough, we had the peak and death of Grunge (1991-1994/1995) and Britpop. The optimism of Dance was infusing British artists who made Britpop a success and, whilst Grunge was a darker alternative; it has impacted and inspired so many Rock/Alternative artists we hear now. Alongside Grunge titans like Nirvana and Soundgarden, there was fantastic Rock from the U.S. Even the ‘outsiders’ of Britpop were making waves – such as Radiohead and Supergrass (I feel they were on the fringes) – and there was so much going on. Maybe Pop music was not producing the same sort of icons like The Beatles; Rock’s Led Zeppelin and The Rolling Stones had already peaked long before this period but I feel the scene was a lot more challenging and eclectic between 1989 and 1995. Many might argue there is a greater spread of genres now – and music is a lot broader – but was there a better time in living memory where we saw such quality and influence? The reason I have selected this period for special attention is the way the artists/albums have inspired the modern generation.

Many are taking from the 1960s and 1970s greats; the 1980s has always stirred and compelled by there is something about the spirit and grandeur of the late-1980s to the mid-1990s that is hard to shake off. I have talked about nostalgia and bias but one cannot ignore the sheer quality and importance of this period. I feel the 1960s is a bit overrated – take away a few huge acts and it is weaker than you’d think – and the 1970s, to be fair, gave us a hell of a lot of genius. When I consider quality and peaking; I am not only considering the slew of wonderful albums and how new genres/movements came together. I feel an emotional shift occurred in the late-1990s and first part of the last decade that has negatively impacted today’s music. The European Dance masters and the Britpop greats provided an intense fizz and smile that continued for a while. I feel the most optimistic and spirited music of today owes more to this time period than anywhere else. Have we seen a more joyous and time for music as we did back then? Maybe the 1960s can rival it but think of all the ‘classic anthems’ of the 1980s and 1990s (the years I am interested in) and it is hard to argue. From Pop queens and kings kicking ass to the Dance purveyors striking gold; I feel it was a wonderful time when music was at its strongest.

 IN THIS PHOTO: De La Soul (pictured in 1990)/PHOTO CREDIT: Michael Ochs Archives/Getty Images

Articles like this show when certain genres hit their peak but think about a time when so many genres hit a rare vein and I am drawn back to that period. Maybe I should stretch back to 1988 because, thinking about the Rap and Hip-Hop classics from that time (when De La Soul, N.W.A. and Beastie Boys ruled) and can you think of a time when so many different and disparate styles of music coalesced and peaked?! Even if you consider that seven/eight-year period (1988-1995); so much happened that moved music forward and inspired music today. Many argue that Rock reached its peak long before the late-1980s seeing as giants like Pink Floyd, Led Zeppelin and The Rolling Stones were long past their best. I do not agree it is impossible to hone down to a narrow period when music was at its peak. It is obvious that certain periods are finer – because of critical acclaim and huge movements – and I can agree with other viewpoints. I do feel that the optimism and bombast that ruled the British charts by the mid-1990s was an absolute peak. Artists like Oasis were taking from acts like Led Zeppelin, T. Rex and The Beatles and updating them for a new audience. Legendary Pop from The Beach Boys were being utilised by new artists and it seemed modern greats were bridging the golden days of the past with what was happening at the time.

 IN THIS PHOTO: Madonna in 1992/PHOTO CREDIT: Getty Images

Look at music now and, when we think of artists bridging the old and new; it seems most are still looking pre-2000 for their guidance. It is impossible to say what music will do in years to come: we might have an explosion of innovation and something that rivals the glory years. I think things will get better but I feel safe in saying nothing will rival the sheer variation and inventiveness that we saw back then. There was a delight in the mainstream and, even when music got moody and dark; it had a spark and something exceptional. I am not suggesting we have peaked and everything is downhill from here but I do think there are certain periods of music that are great and need to be examined. To me, that insatiable and heady time from 1989 (let’s say 1988 instead) to the mid-1990s is impossible to top. Rather than wallow in nostalgia; I am accepting of music’s changes but I can see how many artists are taking from that time and find something in there that appeals. It is interesting looking at certain times and what was happening in music then. There must have been something in the air or a particular catalyst but, to me, the scene was at its strongest...

IN that busy and electric time.