INTERVIEW: Luca Schreiner

INTERVIEW:

Luca Schreiner

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I have been chatting with Luca Schreiner...

about his latest track, Over You, and what its story is. I ask the Electronic artist/producers what comes next and what it has been like working with some of music’s biggest names – he reveals how he got into music and what advice approaching musicians should take to heart.

Schreiner reveals an approaching musician to watch and tells me whether there are gigs coming next year; what Christmas present he wants this year and whether he gets time to chill away from music – he selects a great song to end the interview with.

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

Hey, guys. I’m super-well! I’ve had an amazing week. I played my first ever show in Bahrain and just got back home. 

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

Sure. I’m Luca Schreiner; a twenty-four-year old D.J. and producer from Germany. I’m signed with Ultra Music and released official remixes for artists such as James Arthur, Alessia Cara; Clean Bandit and many more.

 

Over You is your new track. Is there an inspiration behind it?

I’ve written Over You together with some amazing guys, including Neil Ormandy, who is one of the best songwriters of right now. I think the track perfectly shows my current style, which is a crossover between Dance and Pop elements.  

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

Definitely! I’m constantly working on new original music as well as new remixes for some huge artists which hopefully get released soon!

When did you get into music? Were there particular artists you looked up to?

I got into music when I was sixteen-years-old. I remember watching videos of Tiesto performing in front of thousands of people! That was really inspiring me to start working on my own music and explore the whole electronic music industry!

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You have remixed for some big artists. Which has been your favourite collaboration?

I loved working with James Arthur and his team. They were all super-nice and his voice is just outstanding! My remix of his track Say You Wont Let Go is still my most successful remix that I worked on.

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

Playing at Marquee in New York was definitely one of my favorite memories! I opened for 4B that night, who is playing pretty different compared to what I’m playing; but the people were really into it and just enjoyed every track that I played.  

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

Music is super-important to me! I grew up in a family were music always played a big role. My dad owns a music distribution that also introduced me to the particular genre of Electronic music.

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

If I could ask for a non-material present/gift, I think I would choose health for me and my family. No matter how talented you are in music, if you don’t feel good in your body or have health issues then you can enjoy life.

What advice would you give to new artists coming through?

If you’ve just got started, don’t stress yourself. Start exploring and see what genre and what style fits the best for you. I always experimented at the beginning of my career and still try to be as creative with trying different styles in the studio every now and then to just get inspired.

I think, as soon as you have found the right style, you just have to go for it and have fun producing new music. Labels will automatically reach out to you once your sound is right so don’t worry.  

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

Yes. I’ve already got some shows confirmed for next year, which I’ll announce soon!

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 IN THIS PHOTO: James Carter

Are there any new artists you recommend we check out?

I just really love what James Carter (from the U.K.) does! He’s still kind of underrated for all the amazing stuff he’s releasing! So, definitely check him out!

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

Yes. I always try to take time to chill and get inspired again! I think surrounding yourself with people that understand what you do and help you get inspired and chilled is super-important to be able to work on new music again.

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).

I love the new Chainsmokers song, Beach House. So, I would choose this one. Absolutely love the melody of the main part and their songwriting in this one

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Follow Luca Schreiner

TRACK REVIEW: One-Way Song - Billy Fisher Fitzgerald

TRACK REVIEW:

 

One-Way Song

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Billy Fisher Fitzgerald

 

9.4/10

 

 

The track, Billy Fisher Fitzgerald, is available via:

https://www.youtube.com/watch?v=Jfy7Kv6UAko

GENRE:

Alternative-Rock

ORIGIN:

Manchester, U.K.

The E.P., Passionate Leave, is available via:

https://open.spotify.com/album/5J9zUInFhkNzyYdmVdKLOu?si=Ch9k0ASWRvyvRAR3SlsQLw

RELEASE DATE:

27th November, 2018

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I am not sure how many reviews I will do...

before next year - but I am still finding little treats that prove 2018 is certainly not over. I will talk about One-Way Song in a bit but, before then, I wanted to look at bands who take a more poetic and literary approach to music; influences and sounds that should come back into music more; northern sounds and why we need to re-shift our focus; a bit about unique songwriting – I will end by looking at the 2019 of One-Way Song. I have reviewed a lot of music this year and it has been great to see all the different sounds poking through. I do not feel like I have really touched the surface and I wonder whether it is ever possible to truly know what new music sounds like. There is such a wealth and range out there – spread around the world – that it is daunting and impossible to tame. I hope to step things up next and focus on the bigger artists around but it has been rewarding getting to see some smaller artists making early steps and showing real promise. I love what One-Way Song are doing because there is an originality to them that sort of stands aside. Actually, before I continue on this point; I do wonder whether there is any sort of way we can funnel and organise music so that people like me can specifically target the sounds we want to feature. I have pitched this before but rather than wading through a sea of music; have a website that acts like a search engine where we can put in our criteria – ‘New York’, ‘Hip-Hop’ would be one example – and narrow down our focus to a very particular sonic and physical location. I mention this because, through no fault of the artists, I have been sent a lot of the same stuff. I have not really reviewed much Hip-Hop or Grime; been remiss when it comes to whole swathes of new music but, unless you know where to look, it can be really tough to find those artists. I digress but, in a way, it brings me to One-Way Song. One could not accuse them of being a Hip-Hop act but their music certainly is different to what I have been assessing lately.

One might see the words ‘poetic’ and ‘literary’ tied to music and shudder at what could come through – something rather arty and pretentious with no real substance and meaning. Some artists do create that way but, when looking at Manchester’s One-Way Song, they can balance the accessible and familiar and heighten that through a literary prism. Rather than solely write about love and ordinary heartache; they study these characters and figures that seem relatable and like us but have that extra edge to them. It is hard to explain without bringing a song into play but you get something quite fantastical. It is no surprise seeing as band member Luke Gifedder is a playwright himself! He can bring this sort of dramatic and evocative edge to the songs and, with his bandmates, concoct these potent and multifarious tales. It is hard to stray away from the trodden path of anxiety and heartache and I understand why artists are sticking to it like a wet tongue on ice. If you go through the breakups and have inner strains then you will want to project that on the page. I get that but it is the dogged over-reliance on this subject that frosts my cake. It is hard for some people to inject any form of optimism and expression into songs that are, let’s be fair, a bit of a drag. I want to discover music that makes me forget about my own troubles and concerns – One-Way Song manage to achieve this. I am not suggesting for a minute that every artist rations themselves when it comes to love and themes like that. I wonder where are the songwriters who could leave those sort of topics at the door and come into the studio with a more open and curious mind. I am reminded of one sadly-departed and missed songwriter, Mark E. Smith. It is no coincidence I mention his name: Keiron Melling produced One-Way Song’s Billy Fisher Fitzgerald and it seems like there are some touches of The Fall in the song. There is not quite the same spit, edginess and accent as one got from Smith but track the lyrics and a certain wit in the song and it is easy to make those parallels.

Smith, in my view, is one of the last real songwriting pioneers who has paved a way for the new generation. The trouble with only writing about love and that sort of thing is that people are not going to be motivated and inspired by it. Fewer new artists are taking the lead of Mark E. Smith and figuring their own blend of his style. Some might say it is sacrilege to drink at the feet of the late genius but I am not suggesting people rip him off wholesale. I have heard a few One-Way Song songs and, in each moment, I can sense the spirit of Smith in the music. Maybe it is the vocals and a distinct northern perspective; a fresh way of writing that seduces the mind or a sensation that gets into the blood and stays in the mind. Whatever it is, I feel like more new bands/acts should follow One-Way Song and what they are doing – or at least straying away from a cliché road and experiment more in 2019. Next year is an exciting and hopeful one and I would like new acts to shape up. There are some brilliant ones who are exempt from my concerns but far too many who lack spirit and original content. One-Way Song are one of these bands who have a loyal and small following but will build on that because of their striking and unusual style of songwriting. I have mentioned how they have a poetic and literary approach to songwriting but maybe it is more character-driven. Perhaps it is a northern way of writing that we also need to shine a light on. I want to stick with influences and different sounds before I move onto a new subject. Let us consider those special and away-from-the-popular-crowd songwriters and wonder why few are trying to follow their lead. I have mentioned Mark E. Smith and, if the band does not object, I will stay at his side…

Maybe it is going to be hard for any new act to adapt what they do and become more Fall-esque. One-Way Song do not have the same jagged cynicism and gruffness as The Fall’s leader but there is a quality that puts me in mind of their music. Maybe Melling’s producing has pointed my mind that way but there is a lot about One-Way Song I can compare with The Fall. The guys have a fondness for history and poetry; they prefer to write about characters and sides of life that do not often make their way into the mainstream and there is a nice combination of humour, intelligence and interesting angles. I will end the review by speaking about the band’s future and why they can make big strides in 2019 but they have already accomplished a lot. It is hard to really touch on any other influences of One-Way Song but I get little elements of certain artists. Maybe that freshness is a good thing and you certainly do not grope too heavily in the direction of others. The band’s E.P., Passionate Leave, is out and it is filled with wonderful songs that warrant repeated spins. The band, on the E.P., have channelled the Vorticism (an art and poetry movement around the time of the First World War) and they have reimagined how they would write if they lived in this century. That in itself is a unique starting point so it is wonderful digging into the songs and pulling them apart. I am reminded of someone like Paddy McAloon, actually – a man I have been mentioning a little bit lately. The Prefab Sprout lead is another one of those northern songwriters who can study characters and take a less personal but more original approach to music. McAloon is bringing out some new music next year and, on all of his albums, he has delighted and stunned people with his incredible songwriting gift. There is nobody like him but, in a slight manner, I can detect the influence of songwriting leaders like McAloon in newcomers such as One-Way Song.

Perhaps it is something in the water but I am finding the more able and interesting songwriters are coming from the North. It might be the way they can shout above the London crowd or a natural reflection of the local people and the way they speak. Perhaps there is more commercial pressure in the South but there is something wonderful happening in the North. You can say this is nothing new and, when you look at the most fascinating and original songwriters from the past few decades – from Mark E. Smith and Morrissey through to Paul Heaton and Alex Turner – they all have called the North their home. I do feel like there is a divide when it comes to creation and the style of music. It has been the way, for a long time, the mainstream and press have gravitated towards the South. Maybe it is easier to bond with music that is perhaps a little less challenging. Northern artists have a spirit and mannerism that is all theirs and I feel they expend more effort when it comes to songwriting nuance and personality. Look at a band like One-Way Song and you have a continuation of this rich and inspiring northern tapestry. Their name comes from a poem by Wyndham Lewis (who founded Vorticism) and One-Way Song incorporate video and theatre into their live performances. The guys match art and theatre with music to create a more immersive and memorable experience. I love gigs that are traditional and straight-forward but it is good to see artists trying something new and providing a more captivating show. This year has seen Talking Heads’ leader David Byrne take his latest album, American Utopia, on the road. There is dance and lecturing at his shows; an almost theatrical approach to music and, as such, reviewers have been blown away. His multimedia, sense-moving show brings us the hits new and old but there are other layers that mean you are not just witnessing a music show – it is almost like a religious conversion!

Maybe One-Way Song are a way off of doing something similar but they do have a similar approach to a live show. Other artists like St. Vincent and Christine and the Queens have pushed the boundaries of live performances and, in an age where there is mass competition and lacking focus, they have caused a storm. I will end this section by combining northern sounds and the live experience. I think we are too beholden to artists in London and it can be a bit sad seeing so many great northern artists neglected. One-Way Song are making their way and doing fine but they are still in an area of the world that is not getting the acclaim and parental guidance it needs. There are a load of brilliant acts coming from cities like Manchester and I know for a fact what a stunning and varied scene there is right now. I speculated how northern artists have a different personality and musical perspective compared to the rest of the music landscape. In 2019, I think the media needs to open up their eyes and point their telescope the way of the North. Maybe not as extreme as focusing all their energy there but at least keeping focused on what is coming from there. I do feel like a lot of the future stars are making music in the North right now and maybe the press attention is not as hot and loyal as we’d like. I shall move on from this point in a bit but I feel One-Way Song have a great locker of colours and gems that will see them succeed and get into the mainstream. I have mentioned fallen gods like Mark E. Smith – we need songwriters that have that strange and wonderful edge that would make things a lot more interesting. Let us move to a great song from their E.P., Passionate Leave, and celebrate a unique band who are primed for some very good things before too long.

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One gets some futuristic echoes and electronics that open up Billy Fisher Fitzgerald. I was expecting this old-age character that lived in the early part of the last century and was known for his rather lugubrious and addictive personality – someone who can often be found walking the street drunk and ‘delighting’ the crowds. Maybe that is a rather harsh predication but one has their own views and impressions when faced with that name. We experience something warped and tripping that beckons this rather strange and wonderful song. I have mentioned The Fall and one half-expects Mark E. Smith to come in with his distinct drawl and unique take on life. What we do get is something more unexpected and, perhaps, more accessible. There are two skies, as the lead says, and the song transforms from this warping and cosmic slow to something rushed and pummelling. The song’s hero is someone who has a very alive and distinct personality and one of those people who sticks in the mind. There is a truth and reality behind the song but one is free to imagine and discover their own story. I was thinking about someone who liked a drink but had a charming heart. Maybe there is a deeper truth and darkness but one is hooked by the song. I was transfixed by the energy and sheer boldness of the song but it is when we get some echoed and Fall-like vocals that the hairs really stood up. The lead is announcing himself as the song’s hero and meeting our acquaintance. From the spacey and weird opening to the rush that follows – we are not slowed right down and the song goes in a new direction. I loved listening to the isolated and echoed/augmented vocal that punctuates the song and treats things like a story. We have had a foreword and now the first chapter has begun. There are backing vocals that support Luke Gifedder and the whole song has a real unity and sense of togetherness.

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The guitars strut and swagger and allow the song breathe and run. The percussion is solid and physical and the combination is heady and wonderful. The vocals, one might feel, would not match the composition but there is a natural blend that means everything hangs together wonderfully. The professional and assured production shines and highlights every aspect but keeps things dirty and not too clean. A conversation takes place and we hear Fitzgerald join the fray. He has already introduced himself and there is development. Our man has a rather original and memorable personality and does not seem to care what people think of him. One-Way Song have created this song that is like a play; a scene that brings in distinct characters and lets the listener conspire and dream. It is hard not to think of The Fall when the fuzzed vocals have an element of Mark E. Smith. There are two skies still and two-tone shoes; the news says that Billy is back in town and people are being made aware. It is almost like this big event seeing the hero come into town. The band mix the odd and standout dialogue with a sound that is more traditional and familiar. When the song races and campaigns, you get sensations of 1990s Alternative and there is a clear quality that rings in the ears. It is wonderful seeing the two rather distant worlds clash in this epic song. On the one hand, you have a fresh and peppy sound that is singalong and catchy and then there is something weirder that brings in this figure that has lived quite a life! Everyone will have their own impression of what Billy Fisher Fitzgerald looks like and why he has such a reputation. I was amazed at how easy it was to drift away and think about this figure that is on everyone lips.

He has left town and might have had a sworded past but I’d like to think there is a lot of good in him and he is one of those people easy to love. Whatever the real truth is; one cannot overcome the charm and appeal of the song. You listen to it time and time again and pick up things that were missed the first time around. I kept going back and was amazed at how the song stays in the mind and you will be humming lines. One-Way Song have been playing a little while and they sound utterly focused and united throughout. Here is a band that stands aside from the crowd and really do have a wonderful way of doing things. I think they will go onto do a lot of good in 2019 and they can really clean up. There is nothing like them right now and I feel a lot more people will want to hear songs like Billy Fisher Fitzgerald. The song is fourth on the E.P. and gives Passionate Leave a real spark and sense of personality. Not that the rest of the songs lack that but I was more drawn to this number – it has its own skin and an impact that is really interesting and potent. You will listen to Billy Fisher Fitzgerald and want to come back time and time again. Perhaps it is suggestions and elements of The Fall or the way the lyrics project stories and wonderful visions. I was attracted to so many things and love how One-Way Song do things. You will want to get behind the band and follow them into 2019. Here, on this one song, they show what a force they are and are very different to everyone out there. In a music scene that is packed and busy; it is rare to see a band stand out and shine so brightly. Let’s hope this momentum, focus and sense of quality continues next year. I also hope the media gets behind One-Way Song and ensures they get one step closer to the mainstream. The guys deserve that and, I feel, they are primed for very good things. It is very exciting seeing this young group grow and blossom into something very strong and dynamic.

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I have talked a lot about the North and various aspects that are particular to One-Way Song. Passionate Leave is a fantastic E.P. that is full of body and life. I think there is a lot more this E.P. can give and I need to listen to it a lot more. What amazes me about the band is their approach to performance and how they are mixing art alongside music. This year has been defined by a more political approach to music – the best albums – and the finest live performances have gone beyond the basic stage-band set-up and transformed what a musician can do. I think One-Way Song have the promise to match the likes of David Byrne with their shows and the music has a very wondrous and captivating quality. Billy Fisher Fitzgerald is part of a five-song E.P. that is solid, rounded and detailed. There are some nods towards conventional avenues but what separates One-Way Song from the rest is the way they can put characters and eye-opening personalities into the fold and create their own world. Many bands might try this sort of approach and fail in their ambitions. There is a tightness and focus within One-Way Song that makes the music solid and nuanced without losing focus. You swim in this ocean of imagination and wonderful images and are helpless to resist. I feel there is a lot more to come from the Manchester band and they are turning heads right now. Make sure you investigate the group and check out where they are headed. I have experienced a lot of great new music in 2018 and it is fitting to end (almost) this year with a solid and special band that go beyond the familiar and routine. I think it is the original tones and angles that makes the band so appealing and promising.

Maybe mentioning The Fall’s Mark E. Smith was a rash decision but I feel there are similarities. Look at the way Smith wrote songs and the sort of people he brought in. Maybe they were slightly grubbier and more personal than One-Way Song but I applaud any artist that steps away from the mass of the traditional and does something bold. I want to experience music that brings something new to the plate and nourishes my mind in a new way. It is good to see One-Way Song progress and I can see them going a long way in the industry. Things are almost done in 2018 and they will want to rest for a little bit. It is a well-deserved rest because the guys have been busy indeed. They have performed local shows and taken their music to the people; their E.P. has garnered some great reviews and people are starting to respond in a very direct and passionate way. It would be remiss of me to make big predictions but there is nothing to suggest the band will remain local for much longer. It is a tough industry with lots of fish in the sea but those who have sharp teeth and can swim fast are primed for glory. By that, I mean One-Way Song have a sound and style all of their own; they are hungry and ambitious and I can see all of that effort paying off. I am predicting which acts are going to storm things next year and can easily put One-Way Song in that group. It has been a successful year for the band and I think they will take even bigger steps next year. Maybe there will be an E.P. or album but I hope they continue to create great songs and get their music to the people. Many here in the South will want to see them and I feel there will be ample demand for their music here. I am excited to see where they head and what the next move is. I know the guys will already have plans but I think the media needs to react to their work and start looking more closely to the North. It is still deprived and overlooked (compared to the South) and that is a huge shame. I have found so many great northern treasures this year and feel like they all deserve their place. Maybe things will change in 2019 – and the media will correct things – but I think the likes of One-Way Song are going a long way to putting northern music into focus. I shall end things here but suggest people listen to their E.P., Passionate Leave. It has been a wonderful 2018 for One-Way Song and I know they will continue to build on this. Get behind them and ensure you do not let these excellent musicians...

PASS you by.   

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Follow One-Way Song

FEATURE: Sad Endings and New Beginnings: The Finale of Shaun Keaveny’s Breakfast Show

FEATURE:

 

 

Sad Endings and New Beginnings  

IN THIS PHOTO: Shaun Keaveny (who delivered his final breakfast show (he moves to afternoons in January) for BBC Radio 6 Music from the ‘legendary’ Maida Vale Studios, London on 14th December, 2018 after eleven years in that slot)/PHOTO CREDIT: BBC 

The Finale of Shaun Keaveny’s Breakfast Show

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YESTERDAY was a pretty memorable and special day...

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 PHOTO CREDIT: @monaeendra/Unsplash

that will be etched into my mind for years to come! It did not start too well, mind. I only got three hours’ sleep the night before – the heating was a bit f*cked – and was determined not to sleep through my alarm! I eventually crawled out of bed at 05:30 and made my way to Wood Green station (all glamour and loveliness that time in the morning!). I took the Tube to Piccadilly Circus and then transferred to the Bakerloo Line where I connected to Warwick Avenue (singing Duffy all the way) – making that fateful and lovely stroll to Maida Vale Studios on Delaware Road. I has stressed myself into thinking the London Underground would grind to a halt on the day I went to see a radio hero of mine say goodbye to his breakfast show. I caught the Tube fine and everything was smooth. I got to Maida Vale in the freezing cold and was one of the first in line when I arrived at Maida Vale. There were a few other people there who were listening to the start of Shaun Keaveny’s last-ever breakfast show – it started at its usual time of 7 A.M. but we were let it from 8 – and it was a jovial mood. Some had come from as far afield as Scotland and I was chatting to a woman, whose name alludes me, who was the last-ever Small Claims Court guest. She did it live in the studio and was excited to be there…

 IN THIS PHOTO: The exterior of the ‘legendary’ Maida Vale Studios/PHOTO CREDIT: Getty Images

The people there ranged from the likes of me (who had followed the show for about four years) to the die-hard Keaveny fans. It was a mix of sadness and happiness as we stood outside awaiting the call. People started chattering and speculating as to what the show would entail and what the insides of Maida Vale would look like. I had only just written a piece about the legendary space; so it was strange to be there! It is sad it will close its doors and facilities will be moved to East London so it was extra-special to be one of the last members of the public to see the insides! I was overjoyed when I got the email to say I was among the select audience to see Keaveny’s last show and this piece might have helped clinch it. I brought along a musician who is also a big fan, Nick Byrne, and we both wandered in and were seated in the small studio. It was almost zoo-like filing in and seeing the ‘main attraction’ up-close and personal. That might sound strange but, for the most part, we see BBC 6 Music presenters like Shaun Keaveny as disembodied heads - and we rarely ever get to meet them!

I have met and chatted with Matt Everitt before – we had breakfast/brunch once; more on him later – and was aware of him as a person. Keaveny, on the other hand, was this hero on the airwaves who I have always been keen to meet. Being seated so close to him was a real buzz! I am not sure how many people were in the studio but there was a balcony above me and a few rows of seats on the floor. I was seated to the left of the desk – Keaveny was to the north-west of me – and I was a matter of feet away! Matt Everitt made his return to the show after spending a bit of time away (he had a daughter and she was ill for a little bit). Georgie Rogers, as Shaun Keaveny said earlier in his last show, did a brilliant job and carried the baton very well – with huge grace, professionalism and appeal. She was also sat in the audience and it was great to see Keaveny and Everitt rekindle their radio romance for the big occasion. There was no music news yesterday (as it was a special show…) and, instead, some lighthearted banter and lots of emotion too. It was good to see the two back together and they will resume their partnership (alongside Georgie Rogers) when Keaveny takes to the afternoons in a few weeks.

The last broadcast was fascinating to watch as it gave me a glimpse into what a ‘typical’ Shaun Keaveny broadcast contained. Off of the air – when music and news was played – he was chatting to the audience, swearing a ‘bit’ (telling us not to f*cking swear!) and some delicious brioche-type goods were handed/thrown out. There was a lot of laughter and it I got to see producer Phil Smith handing out paper/emails and calling the shots. Zahra – his assistant/co-producer – was there and the whole team were doing the usual show but a select few of us had the pleasure of seeing the cogs turn. When the music was playing, Keaveny was wandering a bit; going to the toilet and bantering. Matt Everitt was there with his new daughter (and girlfriend) and there were laptops out and it was all wonderful! The entire day was dedicated to celebration and cheer and a rare opportunity to see all the beloved BBC Radio 6 Music personalities united and under the same roof. Things, naturally, were focused on Shaun Keaveny and his very last show. It was both an honour and an emotional experience knowing I, and a select few, were watching some truly wonderful.

Songs were played and emails read out; there was that live Small Claims Court and there were lots of special appearances. I have only been in a radio studio once - for BBC Radio 5 in 2017 when taking part in a show dedicated to the fiftieth anniversary of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band -, so was not overly-sure that the sensation was regarding the off-mic chats and how a show comes together. Seeing that transformation of the serious yet funny Keaveny on the air and speaking with the listeners to a looser and less censored off-air version was really fascinating! It was all part of a magical and eye-opening experience at Maida Vale Studios! Included in the final breakfast show was spoof psychic/futurologist Clinton Baptiste (Phoenix Nights). Hewas there to predict the future for Shaun Keaveny and his show – he got lots of laughs and love – and I enjoyed seeing the mullet-overloaded Baptiste in the studio. Mark King of Level 42 was there - and Ed Harcourt was the special music guest. Harcourt performed a cover of The Pretenders’ 2000 Miles (It Must Be Christmas Time) and there was a great story behind that choice…

 IN THIS PHOTO: Ed Harcourt was the special musical guest for Shaun Keaveny’s final breakfast show/PHOTO CREDIT: Getty Images

Harcourt was actually on the phone with Chrissie Hynde (The Pretenders’ lead) and he mentioned he’d be going on the last-ever breakfast show. He asked if he could cover the song and she was cool with it. Harcourt performed a stunning version of the song and I was a mere few feet behind his piano. BBC Radio 6 Music D.J.s such as Chris Hawkins (hungover) and Mary Anne Hobbs were there and, throughout the all-day Christmas celebration at Maida Vale Studios; so many BBC Radio 6 Music presenters were there in a rare coming together. Whereas some of the shows were taking part in the Christmas festivities; Shaun Keaveny was ending his breakfast tenure after eleven years and eight months. Lauren Laverne, who takes over breakfast from January, was there (in a very sparkly and cool dress) and was interviewed by Keaveny – she suggested there might be a new feature, House Music, that matches the noise of household appliances with recognisable songs (could be cool!). It was a bit cryptic but she stated how excited she was and what an opportunity it was going to be. The fact it is the last time Keaveny and Laverne will ‘hand over’ to one another – Laverne follows Keaveny’s show and, as Mary Anne Hobbs is sandwiched between them, they will no longer follow one another – made it a bit sad! They had some very kind words to say about one another and Laverne was presenting her usual show from a different studio.

 IN THIS PHOTO: Lauren Laverne moves from her mid-morning/early-afternoon slot and takes over from Shaun Keaveny from January/PHOTO CREDIT: Getty Images

The final minutes were emotional and, with a potent and touching last speech, Shaun Keaveny signed off. He did not put a foot wrong – there was a slight hiccup earlier – and his last show was very fun and incredibly affectionate. When the show was over and the applause rang out; everyone started to pile out and there were photos taken. A cake was brought in earlier and I was chomping on it as we all started to slowly move out. It was almost like meeting a Royal in the sense there was a neat line and each of us had our moment. I did not get to chat with Georgie Rogers or Matt Everitt – they were busy or with other people/Everitt’s baby – but I got to shake Shaun Keaveny’s hand and have a little chat. I asked whether his decision to move to afternoons was motivated by tiredness and a need to regain his human side – he said, after all these years, he was barely able to put a sentence together.

IN THIS PHOTO: Matt Everitt and Shaun Keaveny live for the last show at Maida Vale Studios on 14th December, 2018/PHOTO CREDIT: @MissSamSingh

A lot of people I spoke with - Keaveny included - were excited to see this new afternoon show but nervous about the shift. It is odd we will not hear the morning show with the usual jingles and beds; the Small Claims Court segment and everything we have grown accustomed to. I know there will be lots of great things coming into Shaun Keaveny’s afternoon show and it was a great honour to see the man before he exited the building. I left Maida Vale Studios, with Nick, in a daze and stunned by everything that had gone down. A new line was outside waiting to see Stuart Maconie’s show there – Lauren Laverne’s crew were already seated and listening to her show – and it was strange to be in the outside world...

 IN THIS PHOTO: Georgie Rogers and Shaun Keaveny sharing a tender moment at Maida Value Studios on 14th December, 2018/PHOTO CREDIT: @GeorgieRogers 

What a fitting goodbye to Shaun Keaveny’s breakfast show but, as he says, it is more like a Cabinet reshuffle. He is only moving to a new slot and nobody is losing their jobs. It will be a hard transition but things will be great and everything we know and love about him, I am sure, will remain unblemished. I will end by talking about the reason I started listening to his show but Shaun Keaveny himself has written a piece and reflected on his eleven-plus years at the BBC Radio 6 Music breakfast helm. In his blog post; Keaveny talked about the start and what the reality was like:

“I will certainly never forget how lonely it was to begin with. Before they are won, the audience is a wary animal, a bit like a deserted pet…where has my owner gone? (Phill) and who the fuck is this Herbert? He knows nothing of Laurie Anderson or deep cuts reggae, he seems to be a Dire Straits fan…(lest we forget what a cabal of true purists 6 Music listeners were in the early days). In those first days weeks and months, the first 18 months in fact, the hell ride was intense. 

But, there is something a bit different about doing an early morning show for a long time. There is something vulnerable about us at that first point of the day. Its “before we have our armour on” as someone clever once said to me. We’re like crabs without a shell. Totally sensitive and as-yet-unprepared for what the day will bring. We’ve often been spat into consciousness by a violent alarm from a deep sleep, we’re full of weird subconscious fears that were percolating in dreams or sleeping thoughts. AND NOW WE HAVE TO PRESENT OUR SELVES TO THE WORLD. It’s hard being a human, and the darkest hour can be before the dawn”.

There was a particular ‘hairy’ case of ‘over-efficient producing’ that caught everyone by surprise: 

“HILARIOUS DOUBLE-BOOKING MOMENTS- REMEMBER THE MORNING when our wonderful now-passed (he’s not dead, just living in Hong Kong) producer Nic Philps booked an absolute shitstorm of talent by accident all on the same day? I tell you what, you’ve not experienced true adrenaline til you realise that you’re interviewing Stephen Fry live, Bret Easton-Ellis is sitting in the ante-room through the glass reading the New York Times waiting patiently to be grilled, and then you notice in your peripheral vision that maverick and occasion loose-cannon comic Sean Hughes has also arrived for a chat!!”

Some of the kindest and most affectionate words were reserved for his long-suffering radio husband, Matt Everitt:

“…I love him. He makes me absolutely piss with LOLS every day. He thinks he understands binary. He basically hates all taxi drivers. He thinks Hendrix is over-rated a bit. His face is only marginally longer than a normal one yet I have made it a “thing”. He is very patient with me. He has been my sunshine when skies were grey, and administered lager when stuff was great. He has a ridiculous car that costs as much as a Spitfire to run but he’s so daft he won’t sell it. He is by some distance the most respected broadcast music journo I know. He knows every one, and they all love him, because he is totally professional yet a darling to chat to. He’s brought us so many great exclusives I can’t count them, and I would say about 3 massive laughs a show. He is my wind. Beneath my wings”.

 IN THIS PHOTO: Georgie Rogers (who stood in brilliantly for Matt Everitt whilst he was away from music news duties on BBC Radio 6 Music)/PHOTO CREDIT: Getty Images

There was kudos put to Zara and Phil; a great tribute to his radio hero, Sir Terry Wogan, and selected highs and lows. I urge you all the read the article and get a real insight into how the long-running breakfast show started its life; producers coming and going and why it was time to move on. There will be years and years of Shaun Keaveny magic to come on BBC Radio 6 Music but there are reasons why I love his show. I sort of half-joked, in a tweet to the show, how the first show must have been a bit like Dr. Frasier Crane starting his first show on the air (on the U.S. sitcom, Frasier). That show saw Crane trying out ‘voices’ for radio and dispensing advice and goodwill to his troubled listeners as best as possible.

The finished and final-show Frasier Crane was dignified and was seen delivering his goodbye speech by family, friends and his radio family. Not that Shaun Keaveny’s start was as troubled and conspicuous - but could he have imagined he would end the show with such applause and fanbase?! (His and Frasier Crane’s radio tenure is almost the same length!). I am a relatively late convert but first noticed the humour and voice. Before then, I listened to Absolute Radio (shite, repeated music and presenters who grate...no idea why I listened!) and Keaveny was an introduction to this new way of listening!

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 IN THIS PHOTO: Matt Everitt and Shaun Keaveny finding the funny side of things at Wogan House/PHOTO CREDIT: BBC

I had not heard too many northern accents on radio (he is from Leigh, Lancashire) and would soon discover Lauren Laverne (from Sunderland). The wit and self-deprecation charmed me and I soon fell in love with this very real and accessible personality. I followed him until his last breath on the morning slot and I cannot believe he managed to keep such a high standard through the years! He would refute that and be his usual self-flagellating self but one cannot deny his admiring fanbase and reputation is no fluke! The fact he managed to stay awake all those years and deliver any sort of show is amazing: the fact his breakfast show was constantly amazing, funny and addictive shows how perfect a match Keaveny and BBC Radio 6 Music. I also follow him because is that comfort and ambition. One of my dreams is to appear on BBC Radio 6 Music and am envious of the guests that come on and get one of the epic and kind introductions. Maybe I have to get my skates on if I want to be worthy enough to appear om his show but his voice, great delivery and incredible sense of allure makes everyone in the music industry up their game and aim high – so we might appear alongside him one day. In fact, my dream is to be a music presenter on the station so it might be a very long time until that happens!

 IN THIS PHOTO: Shaun Keaveny and Matt Everitt in cake cutting action/PHOTO CREDIT: BBC

I also love the fact Shaun Keaveny seems to be like his listeners. I have had a difficult year in 2018 as I have adapted to living in London and working here (still looking); a new way of life and navigating a very busy and unforgiving city! It is a challenge and pretty hard going but I listen to Shaun Keaveny and hear someone I can relate to. His life is more successful – he has two sons, a girlfriend and a great career – but he makes you feel like he is the same; like he gets it and someone you could easily lift a beer with. So many D.J.s seem distant and not like us at all; too rich or uncaring to some extent. Part of Keaveny’s magic is being able to connect with every listener without ever meeting them. That is not something that can be necessarily taught or picked up: it is a natural part of his aura and personality. The other reason I love him is because he seems to channel his radio hero, Sir Terry Wogan. Sir Terry would be proud of Keaveny and his show. He would be proud how he composed himself at Maida Vale and what a great (adopts Sir Paul McCartney voice here) final show he delivered – we are all very proud of him.! Wogan, naturally, is someone we cannot replace and is a unique comet in the radio galaxy. The fact I am reminded of Sir Terry Wogan when listening to Shaun Keaveny is no light praise – I would not be surprised to see Keaveny enjoy the same career and, maybe, move to BBC Radio 2 in years to come.

 IN THIS PHOTO: The late, great Sir Terry Wogan (a hero of Shaun Keaveny)/PHOTO CREDIT: BBC

Keaveny’s natural respect and love of his listeners means reciprocation is easy and warranted. Here is someone who has opened his heart and mind to his loyal following over eleven years and it is great he is still with the station. I am not sure whether his cartwall of sound effects will follow him to afternoons and whether we will get the same features and dynamic as mornings. Some things have to change and there will be a different feel; many things will remain and, lucky as we are, we have a refreshed and excited D.J. we know can deliver the goods time and time again. I imagine there is chance for live sessions and, alongside Everitt on the music news; it will be a chance to venture into new ground. The upset and strangeness of a new breakfast presenter – Lauren Laverne will be amazing – will take a while to get over and waking up to someone new and non-Keaveny is a rather strange realisation. Like everyone who was fortunate enough to be in attendance yesterday at Maida Vale Studios; we witnessed something very special in a once-in-a-lifetime-thrill. It was a sobering, amazingly vivid and uplifting experience that was bittersweet: the mutual love and joy that engulfed the room coupled with the understandably sad goodbyes and tears. I hope, in some capacity, I get to talk with Keaveny (and Matt Everitt and Georgie Rogers) next year. The man loves Madonna (an artists who can cause two straight men to drool and worship her like a goddess) and he is a big Beatles fan; he seems like someone you can bond with for hours and, through his long career, he has achieved so much and continues to grow. It has been a wonderfully strange, beautiful and unexpected last couple of days with a mix of emotions. Shaun Keaveny and his team move as part of the line-up shift and January will see a different show from the man we all know and love. Best of luck to him and his loyal team! As we reflect on eleven years of brilliance and predict what will come next; it is probably best I end with a Christmas song...

FROM the great man himself.

FEATURE: Groovelines: Madonna – Vogue

FEATURE:

 

 

Groovelines

IMAGE CREDIT: Getty Images 

Madonna – Vogue

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THERE are so many periods of Madonna’s career one can explore...

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 IMAGE CREDIT: Getty Images

but I wanted to look at a rather epic time for the Pop queen. It is impossible to look at Vogue and not explore the dance/video. I will come to that later but to me, Vogue arrived at the peak of her career. Many will know it from the David Fincher-directed video and, in many ways, it is one of those songs that could have easily been nestled and lost. It is from the 1990 film, Dick Tracy, and the film itself was not exactly a blockbuster! By 1990, when the track came out, Madonna was already the established Queen of Pop. That ‘moment’, to me, arrived around about the time Like a Prayer (album) arrived in 1989. She was on a steady incline but, in many ways, Like a Prayer shot her to the heavens and meant she ended the decade as the true Pop leader. Michael Jackson was two years away from releasing Dangerous and, to be honest, had probably peaked. Prince enjoyed various rises but many argue his best work was achieved by the middle of the 1980s. There were other 1980s Popstars but none that had the sustainability, reputation and gravitas as Madonna. It would have been hard to sustain the interest and manage the pressure after Like a Prayer. It was an album that truly announced Madonna’s intentions and showed what an incredible writer she was – she co-wrote every track on the record.

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 IN THIS PHOTO: Madonna in 1990/PHOTO CREDIT: Getty Images

Reaction at the time of Like a Prayer’s release was intense and fevered but there has been plenty of retrospective acclaim. This Pitchfork review raises interesting points regarding the album’s confidence and emotional blends:

“While Madonna was no shrinking violet during the first chunk of the ’80s—the decade of Madonna wannabes, MTV Video Music Awards-ready wedding dresses, and “controversial” her officially recognized prefix—Like a Prayer does showcase her growth as a pop artist, from the gnarled guitar that opens its title track all the way through its warped-tape closer “Act of Contrition.” She takes more chances lyrically and musically, and while they don’t always work, they do give a glimpse at her restlessness and increased willingness to take musical chances, whether she’s bringing in Prince or letting her voice’s imperfections into songs or taking on heavy, personal-life-adjacent topics.

The emotions on Like a Prayer aren’t all fraught. “Cherish” is a feather-light declaration of devotion that calls back to Cali-pop outfit the Association while updating Madonna’s earlier exercise in retroism “True Blue”; “Dear Jessie” engages in the reaching toward sounding “Beatles-esque” that was in vogue at the time, pairing fussy strings and tick-tock percussion with images of pink elephants and flying leprechauns. “Love Song,” meanwhile, is a synth-funk chiffon co-written by none other than Prince, one of Madonna’s few pop equals at the time. The two of them feel locked in an erotically charged session of truth or dare, each challenging the other to stretch their voices higher while the drum machines churn. Prince also played, initially uncredited, on “Like a Prayer,” the sauntering pop-funk track “Keep It Together,” and the album-closing “Act of Contrition,” a two-minute maelstrom that combines Prince’s guitar heroics, backward-masked bits from the title track, heavy beats, and its title inspiration, the Catholic prayer of… confession”.

IN THIS PHOTO: Madonna shot in 1990/PHOTO CREDIT: Patrick Demarchelier

There is no denying how much power Madonna wielded by the end of the 1980s. She started in the decade and started, in 1982, as this promising artist. By 1989, she was riding high and had no peers. The 1990s was a decade that evolved and developed from the 1980s and was different in many ways. Madonna would court controversy by 1992’s Erotica and come back with an exceptionally mature response (1994); she had a great rebirth on 1998’s Ray of Light and would continue to create fascination and huge reviews until the end of the decade – her first real creative misstep did not really occur until 2003’s American Life. Many artists would take a few years off after an album as biblical and lauded as Like a Prayer but Madonna’s next studio record would be along in three years – a year after Like a Prayer, the Queen of Pop would grace the screens alongside Warren Beatty in Dick Tracy. In terms of the musical content; the film was a mix of Swing, Pop and Jazz and saw Madonna embrace a showgirl personality (on the soundtrack, I'm Breathless: Music from and Inspired by the Film Dick Tracy). The film was set in the Untouchables law enforcement days and Madonna sang accordingly – even smoking for the film so she could portray the vocals of her character, Breathless. Before moving on to look at the film’s starring song; here some background and details regarding the film and Madonna’s role:

“In 1990, Madonna was part of the film Dick Tracy starring as Breathless Mahoney, with Warren Beatty playing the titular character.[1] Madonna told Premiere magazine that initially she had waited for Beatty to call her for the film. But when he did not, the singer decided to involve herself voluntarily.[2] She pursued the part of Mahoney, but offered to work for minimum wages to avoid favoritism.[3] Principal photography for Dick Tracy began on February 2, 1989 and ended three months later.[4] The filmmakers considered shooting the film on-location in Chicago, Illinois, but production designer Richard Sylbert believed that Dick Tracy would work better using sound stages and backlots at Universal Studios in Universal City, California.[4][5] Other filming took place at Warner Bros Studios in Burbank, California.[6] Beatty often encouraged dozens of takes of every scene.[4] The film was released in the United States on June 15, 1990,[7] and was the third-highest opening weekend of 1990.[8] Dick Tracy was the ninth-highest-grossing film in the US in 1990, and number twelve globally.[8][9] The film also received positive reviews from critics. Roger Ebert from the Chicago Sun-Times praised the matte paintings, art direction and prosthetic makeup design, stating: "Dick Tracy is one of the most original and visionary fantasies I've seen on a screen".[10]

 

Beatty had realized several positive aspects of hiring Madonna as an actress for the film. She would be inclined to develop the soundtrack for Dick Tracy and the film studio would see this as a promotional opportunity before the release of their product, since Madonna was popular as a recording artist. This would also benefit Warner Bros. Records, who would get a reason to release a new Madonna record. According to J. Randy Taraborrelli, author of Madonna: An Intimate Biography, by the 1980s record labels started to release albums which were closely associated with a film, thereby gaining double promotion. These were mostly termed as soundtracks although many of them were not related to the film. After the shooting for Dick Tracy was over, Madonna started working on the soundtrack. She had begun recording three songs by Stephen Sondheim for the film—"Sooner or Later", "More" and "What Can You Lose"—which would be part of the album, but also had to write and develop new songs comparable in style to the previous.[11] In her favor, she produced the entire album, including the Sondheim songs. "I want people to think of me as a musical comedy actress. That's what this album is about for me. It's a stretch. Not just pop music, but songs that have a different feel to them, a theatrical feel", she said at the time[12]”

The twelve songs that feature on I’m Breathless (soundtrack) are a good representation of Madonna’s character and it is good to see her step away from the tones and themes of Like a Prayer. It is no shock to find the Pop queen transform so quickly and effortlessly but, in terms of quality, you cannot compare I’m Breathless with Like a Prayer. The film soundtrack did boast the odd good song – such as the cheeky Hanky Panky – but it is the finale, Vogue, that strikes a move and steals the show. One might think a song as iconic and unique as this would not fit into the film but it completely does. Warner Bros head, Craig Kostich, approached Shep Pettibone (who would co-write with Madonna on 1992’s Erotica) regarding a collaboration. The track was completed for only a few thousand dollars and was done very quickly. Pettibone wrote a Philly-inspired backdrop and sent it to Madonna who wrote the lyrics and came up with the title. Madonna flew to New York and recorded her vocals in a very small basement studio on West 56th St.; in a booth that was converted from a closet. The verses and chorus was recorded quickly with very few takes and Pettibone suggested the famous rap – where Madonna name-checks icons and style stars. Madonna flew back to L.A. whilst Pettibone tweaked the song slightly – including the addition of the House piano line and bassline part.

The musical direction of Vogue, unlike other songs on I’m Breathless, are inspired by House and have Disco influences. The deep House groove and throbbing beats captivated listeners and critics and many rank Vogue alongside Madonna’s finest tracks. The sleek and stylish song seems to define Madonna and who she was at the time. This Pop icon was at the top of the world and renowned for her incredible fashion choices. I feel Vogue is underrated as a song and often falls outside top-ten lists when we think of her finest moments. Listen to a lot of the House tracks that emerged in the 1990s and you can track it back to Madonna’s Vogue. The icon was always inspiring and changing music but Vogue not only cemented her reputation as the Queen of Pop but it took her to a new level. There is sheer confidence and panache that explodes from Vogue. This confidence would continue into Erotica and there was no stopping the pioneer. The sixteen celebrities mentioned in Vogue were either dead or nearing death. The last surviving icon, Lauren Bacall, died in 2014:

“The death of famed actress Lauren Bacall, the husky-voiced starlet known for her sultry sensuality, not only meant the loss of a true Hollywood legend, but also the end of a golden era of icons.

As first reported by Slate, all of the 16 Hollywood icons named in singer Madonna's pop song, "Vogue," have now died after the passing of Bacall on Tuesday...

 

The song, released in March 1990, was inspired by the New York City dance community. Voguing is a stylized dance that evolved from the Harlem ballroom scene in the 1980s.

One section of the song contains only spoken words in which Madonna quickly lists off 16 celebrities that are considered part of the golden era of Hollywood: "Greta Garbo, and Monroe / Dietrich and DiMaggio / Marlon Brando, Jimmy Dean / On the cover of a magazine / Grace Kelly; Harlow, Jean / Picture of a beauty queen / Gene Kelly, Fred Astaire / Ginger Rogers, dance on air / They had style, they had grace / Rita Hayworth gave good face / Lauren, Katharine, Lana too / Bette Davis, we love you".

The song itself is a fantastic thing but so much of Vogue’s legacy revolves around its video and dance choreography. The term ‘voguing’ has been a part of the lexicon for a while but many name Madonna as someone who managed to push it into the mainstream. Stephen Ursprung, in this piece, examined the term and Madonna’s role:

“Voguing has left its mark on the world largely due to the commercial success of the Madonna song of the same name.  On the surface, voguing appears to be the dance of black gay men that has been appropriated by popular culture.  However a close examination of the form reveals that voguing gives a voice to the oppressed: the gay, lesbian, transgendered, bisexual, black, latino, female, and otherwise marginalized subcultures of American society.  Although characteristically American in its geographic roots, Voguing has evolved in a community that pays homage to global culture and celebrity.   Furthermore, voguing continues to hold relevancy thanks to an ongoing reciprocating exchange of influences with commercial entertainment”...

 

By bringing voguing into the limelight, Madonna created a market for voguing in the commercial entertainment world.  As interest in voguing spread, the popularity of the already critically-acclaimed Paris Is Burning skyrocketed.  Other dancers outside of the the house of Xtravaganza also highlighted in the film catapulted to fame.  One of those dancers, Willi Ninja, whom I have previously mentioned, became one of the most recognizable vogue dancers, choreographers, and modeling coaches in the world.

As the global obsession with voguing fell out of the limelight, the focus of the ballroom scene shifted.  While still emphasizing community-based support and striving for innovative new dance steps, ball culture has devoted itself to rebuilding the community in the wake of AIDS.  As chronicled in Paris Is Burning, many participants in ball culture make their livings in the sex industry and risk infection and violence.  Even now, decades after the hight of the AIDS crisis, voguing legends continue to succumb to the disease.  Most recently, Willi Ninja passed away at the age of 45 after a long battle with AIDS-related heart failure.  By forging a long-standing relationship with the Gay Men’s Health Crisis and various HIV/AIDS organizations, ballrooms have focused on providing sexual health and lifestyle education to newcomers too young to have experienced the outbreak of AIDS and the immediate loss of a generation of gay men.  How Do I Look? documents this shift towards health education”.

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 PHOTO CREDIT: @peterhershey/Unsplash

I have tried to ‘master’ the Vogue dance and cannot get the hang it to save my life! It is a pretty cool thing to pull off and so many people were hooked on the video – the famous black-and-white promotion directed by David Fincher. The video was shot in Burbank, California in February of 1990 and was the result of a huge casting call – hundreds of dancers were auditioned in Los Angeles. The video matches the song’s themes and images of classic Hollywood and the lure of the screen icon. The video features many of the dancers who would appear on Madonna’s then-upcoming Blond Ambition Tour and is seen as one of the best music videos ever. The video has a rare and very eye-catching setting:

“The black-and-white video, set in Art Deco-themed 1920s and 1930s surroundings, starts off showing different sculptures, works of art, as well as Madonna's dancers posing. Along with this are images of a maid and a butler cleaning up inside what seems to be a grand house. When the dance section of the song starts, Madonna turns around, and, similarly to the lyrics, strikes a pose. The video progresses, and images of men with fedoras, Madonna wearing the controversial sheer lace dress and other outfits, follow. As the chorus begins, Madonna and her dancers start to perform a vogue dance routine, where she sings the chorus as her dancers mime the backing vocals. After this, other scenes of Madonna in different outfits and imitations of golden-era Hollywood stars progresses, after which there is a scene with Madonna's dancers voguing. Finally, after this scene, Madonna can be seen wearing her iconic "cone bra", after which she also performs a dance routine with a fellow dancer. As the rap section begins, different clips of Madonna posing in the style of famous photographs or portraits of Hollywood stars, begins, ultimately followed by a choreographed scene with her dancers and backup singers...

The legacy and impact of the video cannot be understated – even if it did court some controversy (which was not unusual for Madonna!):

“MTV placed the video at second on their list of "100 Greatest Music Videos Ever Made" in 1999.[49] In 1993, Rolling Stone magazine listed the video as the twenty-eighth best music video of all-time. Also, the same magazine listed "Vogue" as the #2 music video of all time in 1999 second only to Michael Jackson's Thriller.[50] It was also ranked at number five on "The Top 100 Videos That Broke The Rules", issued by MTV on the channel's 25th anniversary in August 2006.[51] It was the third time Fincher and Madonna collaborated on a video (the first being 1989's "Express Yourself" and the second being 1989's "Oh Father"). About.com listed as the best Madonna video.[50]

There was some controversy surrounding the video due to a scene in which Madonna's breasts and, if the viewer looks closely, her nipples could be seen through her sheer lace blouse, as seen in the picture on the right.[38] MTV wanted to remove this scene, but Madonna refused, and the video aired with the shot intact.

"Vogue" music video received a total of nine MTV Video Music Awards nominations, becoming her most-nominated video at the award show. It won Best Direction, Best Editing and Best Cinematography.[52][53][54] The video was voted #2 on MTV's "100 Greatest Videos Ever Made"[55]”

Vogue was included on the Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll and has often been voted as one of the best songs of the 1990s. Madonna helped bring ‘voguing’ into the mainstream and popularising it. Beforehand, it has been confined to bars and discos in New York’s underground gay scene. The popularity of Vogue not only married sounds like Disco and House but it helped shine a spotlight on gay culture and helping bring about greater inclusiveness. The song’s hedonism is about togetherness and everyone getting together. It is rare to hear a song like that today but not rare to hear it from Madonna. Some say the song was not inclusive enough regarding race whilst others say it was a commercial pitch to get Madonna noticed – rather than being concerned with bringing the underground gay scene into the forefront. Vogue not only helped confirm Madonna’s status as the Queen of Pop but it brought House music to the mainstream. Who knows how many great Dance tracks of the 1990s would have been lost were it not for Madonna! There are so many fascinating aspects to Vogue. Not only are there the name-checked celebrities but the dance itself; the idea of positivity and bringing people together and the momentum Madonna had at that stage. Her career would change and take on a new life when Erotica came along but, after the blockbuster Like a Prayer; it would have been easy to rest on her laurels or take a break from the limelight. Instead, she struck a pose, got her groove on and created...

THE monumental Vogue.

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Kelli-Leigh 

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

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THE weather is properly chilled today...

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 IN THIS PHOTO: I Am Karate

so it is time for another female-led playlist! I have been excited by the sheer weight and quality of music coming out this year and, to me, the very best has been made by women. This is true in the mainstream and the underground alike. We all need to be warmed up and have that teasing flame of music fill the body. Given that desire; here is another rundown of female-headed sounds that are guaranteed to convey the complexities of winter. There is the beauty and serenity to be found but a rawness and immediacy that definitely gets into the blood! Have a listen to these fresh – there are a couple of older songs – releases that are properly good. It is bad outside so you won’t want to go out – stay inside with this music instead! Here for you is some of the best female-led music that offers the warmth and energy we need to forget...

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  IN THIS PHOTO: Shaylen/PHOTO CREDIT: @piperferguson

ABOUT the rubbish weather.  

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

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PHOTO CREDIT: Conor Kerr Photography 

VOKXEN – Crystal Eyes

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PHOTO CREDIT: Declan Haughian

Bess Atwell – Grace

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Shaylen – Isn’t You

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PHOTO CREDIT: Carl Farrugia

Panic Pocket – Mrs Santa

Bibi Bourelly – Xmas Trees

I Am Karate – Work It Out

 
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Hannah Grace (ft. Gabrielle Aplin) – December

PHOTO CREDIT: Sebastian Barros Photography

BABYTEETH – Cocoon

Tiger Mimic – I Took Off My Body                           

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Iris Gold – Keep the Light On

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Antonioni – Easy Listener

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Moonlight Breakfast – Look Up

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PHOTO CREDIT: Joe Eastwood

Exhibitionist – Vicious Love

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Monica Martin – Cruel

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Runrummer – Soul Wrinkles

Grace Weber – Joy to the World

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Delaney Jane – Psycho

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Avril Lavigne – Tell Me It’s Over

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Wallis Bird – The Ocean

PHOTO CREDIT: Aaron Wynia for FADER

Charlotte Day Wilson – Nothing New

Woman’s Hour – Don’t Speak

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Rothwell – Darling

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Hockeysmith – Tears At My Age

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Lennon Stella – Fortress

PHOTO CREDIT: Helen Boast Photography

Kelli-Leigh – Nothing More

PHOTO CREDIT: Samuel Henger 

Katey Brooks – In Your Arms

Chloe Foy – In the Bleak Midwinter          

PHOTO CREDIT: David Ryder Prangley

Desperate Journalist - Cedars

INTERVIEW: Katey Brooks

INTERVIEW:

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Katey Brooks

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THE awesome Katey Brooks...

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has been telling me about her latest single, In Your Arms, and what its story is. I ask what she has planned next year and whether we will see more from her; which albums are most important and some rising artists we should follow and investigate.

Brooks tells me about a bittersweet musical memory and where we can catch her play; who she would support on tour if she had the chance and what advice she would offer artists emerging – she selects a great track to end the interview with.

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

Hi! I'm good, thanks. How are you? My week has been really wonderful thanks...and busy!

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

I'm a singer-songwriter/producer originally from Bristol (U.K.) living in London. I've been writing, releasing and touring music for over a decade now and have been fortunate enough to see many parts of the world because of it. My back catalogue spans a variety of genres but my current vibe is Indie/Folk-Pop with hints of Gospel and Soul. Is that enough of an intro? I'm a bit awkward; can you tell? (Smiles).

In Your Arms is your new single. What is the story behind it?

I went through a very painful breakup over the summer. I parted with the woman I loved very dearly and one day I just picked up my guitar and decided to tell her how I felt, in song. I had always felt like she never quite believed me when I told her I loved her and this was my way of really saying it. I'm happy it came out this way because I think, or at least hope, there's something in the lyrics we can all relate to - that pure, sweet, unconditional love for someone.

Will there be more material coming along? How far along are you looking?

There absolutely will. I'm just finishing the production on the second single - which will be out in late-January - followed by third and then the album in the spring! In between my original music, I'm also going to be sharing some covers of my favourite songs so watch this space (smiles).

In terms of artists; who do you count as idols?

Neil Young, Joni Mitchell; Annie Lennox, Tracy Chapman; Otis Redding, Jeff Buckley and John Martyn...god, the list is endless!

Do you already have plans for 2019?

Yes. Gentle ones. I was on the road relentlessly for a few years until this time last year and, as amazing as that was, that's not how I want to do things these days. I've discovered I'm actually more of a home-bird than I ever wanted to admit. So, I'll be releasing a lot of music (including my album Hearing Voices in the spring) and playing some special concerts in venues I love. Past that, we shall see!

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

Ooh, there are a few. Singing at the Bethlehem Live festival in Palestine and London 2012 are up there, but I'm going to say all the way back in 2007 at the Bordeaux Fête le Fleuve. I was a youngster on the main stage both opening and closing this beautiful festival. It was both a very exciting and extremely painful moment for me. My mum had literally passed away two days before but I had promised her I would go and play the festival. 

As hard as it was, I wanted to keep that promise. I thought about her and mentally dedicated it to her as I sung my song You Will Be Free. It was a very powerful moment and, to be honest, I felt her presence. I'll never forget that.

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

As both the receiver and the creator, it's everything. It's literally saved my life at certain times. It gives meaning when there is none; it makes sense when there is none and it gives joy without ever wanting anything in return. Music is just beyond words amazing, isn't it?!

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

Rumours by Fleetwood Mac

Just because it's perfection.

Tracy Chapman – Tracy Chapman

That record inspired me to write and sing.

Blue by Joni Mitchell

My friend Patrick Duff mentored me a little when I was younger and he recommended I listen for my development. Exquisite album which definitely influenced the way I sang at the time.

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

Oh, that would be telling...it's quite soppy. Can I keep you posted? (Winks).

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

It would be someone like Matt Corby because then I could really enjoy his set afterwards. I adore his voice/music and his presence on stage. 

My rider is always pretty simple: just a nice bottle of Malbec, decent veggie food and somewhere private, quiet and comfy to chill out before and after I play. Anything more than that is a bonus but to be honest wouldn't be on my mind before I play.

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What advice would you give to new artists coming through?

Just make music you love, work hard and be gracious. Look after and respect yourself. The rest is up to the gods.  

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

There are shows to be announced but, in the meantime, I have two special shows coming up in these lovely venues:

Friday, 1st Feb at Landmark Arts Centre - London

Saturday, 2nd Feb at Arnos Vale – Bristol

Tickets are available from my website.

 IN THIS PHOTO: Ash Radford

Are there any new artists you recommend we check out?

Ash Radford. Beautiful music, beautiful man. I think he's going to do big things in 2019. Fraser Anderson for all the same reasons. His voice is gold.

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 IN THIS PHOTO: Fraser Anderson

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

My answer to that question used to always be ‘no’. Haha.  But, nowadays, I'm trying to keep the balance. I like to just hang out with friends and family eating nice food and having the odd glass of wine or two. I love movies and have been known to indulge in many Netflix binge sessions. I'm trying to get back into sports too as I know how much my mental-health thrives from it. Climbing is at the forefront of my mind at the moment. I just need to find the 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).

Oh, thanks! Let's go with Fraser Anderson - Only a Boy. It's my favourite of his and features the beautiful bass playing of Danny Thompson (John Martyn, Nick Drake)

Nice chatting to you (Smiles).

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Follow Katey Brooks

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FEATURE: The December Playlist: Vol. 3: Before the Big Day Comes…

FEATURE:

 

The December Playlist

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IN THIS PHOTO: Ariana Grande 

Vol. 3: Before the Big Day Comes…

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THERE is not a lot more to come…

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 IN THIS PHOTO: Drenge

from this year and I am keen to collect together the very best that is around. It is by no means a poor week for music but not the same solid and epic collection we are used to. Artists are winding down and thinking about 2019 and, alongside a few Christmas songs, there are some more traditional numbers. It is interesting seeing what is out there and investigating the songs that are ending 2018 with a bang. From Drenge and Ariana Grande to Ian Brown and Maggie Rogers; there is plenty to get your teeth into! Have a listen to the latest collection of December tracks and I am sure there is plenty in there that will take your fancy. Even though this year is almost over, artists from every corner of the music are showing there is still...

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 IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Olivia Bee

PLENTY of life left in them.

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

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PHOTO CREDIT: Caitlin Mogridge

The Modern Strangers – Red Strip Lights        

PHOTO CREDIT: David Ryder Prangley

Desperate Journalist – Cedars

Broken Bells – Shelter

Against the Current – The Fuss

Drenge – Autonomy

Janelle Monáe - Crazy, Classic, Life

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Allie X – Last Xmas

Amanda Palmer – Drowning in the Sound 

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PHOTO CREDIT: Craig McDean

Ariana Grande – imagine

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Bibi Bourelly – Xmas Trees

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PHOTO CREDIT: SHOT BY PHOX

Grace Carter – Ashes

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Joshua Homme & C.W. Stoneking - Silent Night

 

Ian Brown – Black Roses

Kelli-Leigh – Nothing More

Papa Roach – Elevate

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PHOTO CREDIT: Amber Pollack

Sundara Karma – The Changeover

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The Chainsmokers – Beach House

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PHOTO CREDIT: Michael Doyle Olson

Monica Martin – Cruel

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ZAYN – There You Are

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Matt Maeson – The Mask

Maggie Rogers - Tim McGraw (Recorded Live at Spotify Studios N.Y.C.)

Carlie Hanson - Numb

Mokita – London

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Mitchell Tenpenny - Goner

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PHOTO CREDIT: An Bezzi

Bianca Rhoden – Out of Words

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Grace Weber – Joy to the World

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Delaney Jane – Psycho

Cass McCombs – Estrella  

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I Am Karate – Work It Out

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Tamzene – Last Song

Avril Lavigne – Tell Me It’s Over

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Russ – Missin You Crazy

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Kodak Black – Testimony

gnash – t-shirt

TRACK REVIEW: Passive - Like This

TRACK REVIEW:

 

Passive

Like This

 

9.3/10

 

The track, Like This, is available via:

https://open.spotify.com/track/4zywxd6AMLoj8ewX8btYjK?si=HqmgDBAeTGWsaDX6b4-TlQ

GENRE:

Alternative-Rock

ORIGIN:

Watford, U.K.

RELEASE DATE:

30th November, 2018

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AS we are coming to the end of the year...

I wanted to look at what trends we might see in 2019 and why bands will make a revival. I will also investigate subjects in songs and why it is important to redefine and remould; a quick check at releasing music and why it is best to put quality over quantity; artists who are playing outside of London but get the best of both worlds; why next year will be an important one for music – I will end by looking ahead and seeing where Passive might head. There are a lot of impressive aspects regarding Passive but, perhaps, their name is not one of them. It is short and simple but it also happens to be very hard to Google. I can understand why they wanted something punchy but, not only are there other bands called Passive, but it is incredibly difficult to narrow down the guys on a search engine. There is not a lot they can do about it now but I do wonder whether their name is the best representation about who they are and how they stand out – one would not heard the name and instantly think about a unique and sparkling band who are doing things their own way. Maybe I am not seeing their side of things but it is just as well the band produce fantastic music. Their creative name and identity stands out a lot more than the one-syllable, Google-unfriendly name they have chosen to emblazon their uniforms with. I mention the name thing because, in order to get ahead and make the biggest stride, you need to distinguish yourself and be as visible as possible. In terms of the mainstream sounds; I think solo artists will continue to rule and there will be an increase in the artists who are talking about politics and social issues. The underground, mind you, will be very different. Things are not quite the same there.

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I think Passive will be among the chasing pack and there is going to be that need for bands to come through and make a statement. Whilst I think it is great solo artists are having more influence and they are the ones who are creating the biggest albums; bands have started to fade out in the mainstream and take less of a role. I have explored this before and wondered why this shift has happened – 2019 will be different regarding the underground and that imbalance. Whilst there are a lot more solo artists than bands in new music; I feel that desire for band-made music will change this trend. I feel we will clamber after bigger sounds and a sense of unity. Given the fact the U.K. is divided and isolated right now; that psychological issue – being alone and wanting to go solo – will have an effect on music. I am seeing some great bands emerge and make terrific music but it is solo artists who are getting most of the acclaim. I am seeing many pining for something bigger and a solid musical unit. I like solo artists a lot but do miss the days when bands were leading and what we were all listening to. Perhaps we have come too far to see that scene return but it is what bands are saying – or what they are not saying – that is giving solo artists the edge. Solo artists have the ability to be more diverse with their material and they can be a lot more personal. I think bands have got caught looking at rather general themes such as love and have not dug as deep as solo artists. The reason I think bands in the underground will make a claim is because of the way the world is changing and how music needs to react. We cannot stand by and see how things are shaping up without taking note. Passive talk about conventional subjects like relationships but they seem to have that desire to go further and write something important. They want to be discovered and loved and, to do that, they need to follow the likes of IDLES when it comes to subject matter. I do not think bands can strictly narrow their focus in a market that wants to see them succeed, push forward and rise to the top.

The band’s latest cut, Like This, redefines what youth is and puts a new spin on things. It is not, as you might expect, immature and generic but it goes a lot further and explores different angles. Maybe Passive are a few years off getting mainstream attention but they need to follow the same path as the biggest bands out there. In terms of lyrics and themes, Passive are doing the right thing and are not rigidly sticking with broken hearts and the same complaints. That is not to say heartache and strain is not valid and desired, but I think too many artists get fixated and do not understand the need to widen their horizons. If we are all listening to the same music and the same words, it means we are not being challenged and we go looking elsewhere. I think bands, as I say, will do a lot better in 2019 in terms of the underground and the subjects talked about will contribute to that heavily. The band, now, are discussing youth and a unique take on that but I think they will go even further and keep pushing things. I feel they can tackle subjects like politics and what is happening in the world but also stay closer to home. I am not one who feels relationships need to be ignored and we should forget them but too many people get fixated. Passive impress me because they combine an original set of lyrics and pair that with music that has so much colour, diversification and nuance. You can hear one of their songs and discover new light every time you investigate things. I do not think it is a coincidence artists who have made this year’s best albums are standing away from love and are looking at the wider world. I have some suggestions for bands like Passive and how they can succeed in 2019.

I have been a bit down on their name – their song titles are more striking – but they can do something about the lyrics and themes. They have already made a big impact regarding their voice and songbook but now, more than ever, we want bands to create music that is stirring and takes a political stance. We have lived through a hectic and chaotic year and are more separate than ever. I am not sure what next year will hold and whether we will be more stable than 2018. I doubt things will improve anytime soon and, because of this, we are looking to music for a sense of guidance, unclouded truth and escape. Bands who want to succeed and get into the mainstream need to think about music in these terms now. They need to provide some fun and light escape but also balance that with songs that study fresh angles and have a conscience to them. Alongside that, it is vital groups need to be the political voice and have to lead our hand. It might be impossible to achieve all of this but the desire for bands has waned because there are few who are striking the heart and opening the mind. The mainstream has seen a few great bands take big strides and resonate and I think this will translate into the underground. I think Passive opened their music account with a bang and, although they talked about angst, they are already growing and expanding their horizons. It is all well and good providing a blast of noise and anger but that will not last and impress if there is a samey and predictable message at work. General tension, angst and anger is useless if others cannot relate or a deeper message is not at play. We have seen bands perform for decades and the new crop needs to be aware of this. Passive have taken a big leap on their new single and are not solely talking about their own lives and are showing more maturity, awareness and boldness.

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The guys are balancing the demands and appeal of London with the different scene and identity of Watford. I think Watford is a great place for music and has that proximity to the capital. What gets me is how there is that focus on London and nowhere else. We know cities like Manchester and Leeds have a great scene and we are not placing a lot of attention there. London is vital but I feel you can take advantage of the city and not live there. The guys of Passive have played shows around Watford and are creating a legacy there but they are close enough to London and can get advantages from there. I do think it can be expensive and risky basing yourself in London and not always ideal. If you have a base that is close enough to commute but you do not have the same pressures and strains then that can benefit the music. I think Watford is a very up-and-coming place that needs to be explored more and many of us overlook. It is not as popular and bustling as Liverpool or Leeds but there are some great acts coming through. Passive have played some great local gigs but they have the ambition to head to London and conquer the city. They are playing in Hoxton tomorrow and are on the stage at nine. It is good to see them gain attention and traction in London but I feel they can base themselves in Watford and not lose focus. If you live in London, it does not mean you will have an advantage over anyone else and it can cause some damage. Being too engrossed in the city and being in the rush has an excitement but it can wear you down. The ability to have some personal space to create and that convenience to commute to the capital seems to be working for a lot of artists.

Passive have said the reason they are a band and playing together is because of the gigs. Live experience and getting that instant reaction is the most important thing to them. That makes sense. If you are in a band then you need to be seen and have people watch you connect. The way to do that is to get onto the stage and bond with the audience. Because of that, Passive are getting themselves out there and want that acclaim. They are doing well in Watford and gaining a name for themselves there but London is a harder game. We have more competition and it is trickier getting up that ladder. Passive are taking the right course and their exceptional live show, combined with their subject matter and natural bond means they are making waves and getting moving. I think it will be a while before they can command the biggest stages and gain the acclaim they need but the guys have focus. There are a few reasons why the guys are getting ahead and being talked about. We live in a time where people are updating their Instagram account hourly and they need to post everything they eat. The same goes for social media. We get fixated with exploring and sharing every facet of our lives and that desire to be seen all of the time. It can be quite a negative culture and that blends into music. Many assume that, unless you are putting out new material each month, we will look elsewhere. There is truth in some of that argument. I do not feel artists should leave a huge gap and be quiet for too long – that can be quite a mistake. Rather than leave years between albums; I think a new song every few months is not too excessive or lacking. Passive feel that there is this need to always shove songs out into the world or you will not get noticed.

They realise it is better to have that quality and pace things a bit rather than rush into the world. I have seen artists who have put out music every month and they worry people will look elsewhere if you are away for a while. It is more important to have songs you believe in and stand up rather than rushing into things. I hear artists who have a catalogue of songs and they all sound fairy alike. Maybe they mean well but there is little risk leaving a bit of a gap. So long as you do not leave an enormous gap between songs and E.P.s then you are okay. People will buy into the music and stay with you if you have the quality and potency. Passive have managed to step from their debut and have grown between releases. I feel like they have learned a lot and are keen to produce music that is more stirring and enduring. Rather than look at love, anger and vague issues; they have brought us a new song that explores youth and puts a new spin on it. Like This is a great song that gets into the blood and shows its quality. The band has spent time crafting a song that is natural yet powerful and they have managed to make that leap. I think there is this wider concern new artists risk being lost and overlooked if they are not constantly in the spotlight. Passive have taken the risk, however small, and are placing quality over quantity. I know they will continue to stick with this practice and continue to make great music. I will look at what 2019 holds for Passive but, right now, they are ending the year will a big statement. Many will want to see an E.P. from them very soon but I know the band will want to make sure their sound and material is solid before they commit.

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Given the fact Passive can be quite explosive and bold; many might not have expected something quite tender and soft in the opening of Like This. We hear of a raw and eager tiger in the hand; sandwiches and someone on their break. There is this fusion of images and unique lyrical viewpoints that get the mind working and made me wonder what the song was about. I know the band is talking about youth and things around that but there is oblique quality in the opening lines. You are posting and conspiring opinions but the images lead the imagination in various directions. One hears a lot of melody and texture through Like This. Rather than go for the throat and throw too much energy into the song – like many bands would – there is an accent and personality that emerges from the song. The hero will keep doing what he does and, at every stage, there is some mystery behind the lyrics. I get the impression there is a particular relationship being document but, rather than cast blame and talk about something negative, something larger than the relationship itself is being explored. Our hero wants to fix things and look at the positive sides. If you are young, it can be hard to keep things together and show that maturity. Many make bad mistakes or let things crumble too soon. I get the sense the lovers are hoping for the best to an extent and they are not sure the best way to make things last. Maybe there is a temptation to walk away but, rather than play to the natural course of youth, there is something more adult and strong-willed emerging. The hero is talking about limbo and stepping out of it. Maybe this is a rough patch and things are not as clear as they used to be. A lot of songs about relationships are either concentrated on blame and sorrow or the lust side of things. It can be quite boring hearing the same thing over and over.

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Passive have taken a different angle and they are showing great heart. The lyrics to Like This are not your usual fare and are very matter-of-fact. There is no disguising the fact the couple are drifting a little and unsure but the hero wants them to move in the right direction. The composition supports the words with comfort and guidance but never seems too thin. In many ways, I am reminded of Arctic Monkeys and their more settled and explorative work. Passive take the sound down a bit but that does not mean there is a lack of passion. They only recently released their debut single – I interviewed them about that – and it is good to see a variety and evolution come into their work. I feel a lot of bands feel like they need to be too heavy and frantic regarding the composition but Passive are showing more grace, intelligence and emotion. As the percussion riffles and the lead talks about blame and conscience; the cooing and harmonised backing vocals remind me of Supergrass. It is a nice combination of influences and sounds that makes Passive’s new track a winner. A lot of new bands would rush in and produce a song that was very gutsy and raw. Instead, Passive are able to explore issues around youth and how to handle a bad situation. Every listener will get their own viewpoint regarding the song and have their own take. It is not obvious whether the two survived and who is really to blame for the friction. Perhaps they have been together a long time and it just a case of things naturally starting to come away at the seams. Our hero is resolute and showing some positivity but there are a lot of different issues that need to be resolved and discussed.

I was drawn to the very mature yet evocative sound put out and how much personality there is. The voice is not drowned by the composition: our man is able to discuss the situation and win over the heart with a very effecting delivery. It is rare to see a band explore maturity and relationships in a song like this and that is a positive for Passive. I am not sure whether they will look at politics and social subjects next year but I think the only way they will grow and challenge the best is to think like that. It is good hearing about relationships but we do not always want to hear about them. It can be very boring and depressing and, in a fractured world, there are more important things to look at. Passive know this – I hope they do step out of a comfort zone in 2019 – and have crafted a great song that gets into the head and takes a different stance. It is wonderful hearing Like This unfold and the way it strikes the imagination. Even though they are talking about something that is quite common and routine; there are new considerations and a fresh approach. The guys know the same old clichés and angers will not cut the mustard and have produced a song that is both relatable and original. This is a hard trick to pull off so kudos should head the way of Passive. I like their sound and the fact they are not following everyone else. You get grace, tenderness and something more stirring in Like This. There is explosion and force but it is more lyrical and suggested rather than volume-based. You can tell they have worked hard on the song and really spent the time to craft something pure and meaningful.

It has been a good and prominent year for Passive. The guys formed last summer so they are fairly new to the industry. Their rise and popularity has come off of the back of a fresh and raw sound that fuses with memorable lyrics. Anti Romantic was a good debut but they have come a long way in a short space. Rather than repeat a song that looks at a feeling of disconnect and anger; there is something more mature and original with Like This. I feel the guys are making big statements and they are going to have an exciting 2019. Make sure you catch them in London tomorrow but, if not, catch them on the road in 2019. I know they will have London shows but will want to keep busy in Watford. I do hope they manage to balance the relative quiet of their home and be able to commute to the capital a lot. We all get too focused on London music but there is this danger of forcing artists there in the assumption they can only succeed if they are where the action is. It can be hard to get acclaim out of London but good music will stand up for itself. Passive are anything but and are proactive in their ambitions. It is challenging being able to tackle the competition and stay ahead but I opened by talking about bands and how they will get more acclaim next year. Maybe the mainstream will focus more on solo artists but the underground is a different beast. I think we want to see a bigger sound and togetherness. Bands have fallen out of favour to an extent but next year will change. Passive are a group who have made an impact on their debut single and show they are capable of evolution and change. They will not want to release a load of material next year but they do need to think about an E.P.

The only reason people will see them on the stage is a collection of songs and they will want to hear originals. The guys are testing their material and seeing which songs connect and how they are being received. If the songs, through exposure, get popular and applause then that means there is a demand. The first year or so of their career has been dedicated to getting a couple of tracks out and making sure they perform as much as possible. 2018 has been a successful one for Passive but they know there is a long way to go. I think they are aware of the competition out there and are already making sure they stand out from the pack. I am pumped to see what happens next year and whether they will release more music. I feel there needs to be a few singles and, in terms of gigs, they are starting to get focus in London. It is hard to balance the need for economy but being as visible and hard-working as possible. Given the stiff competition and the mass of new artists coming through, Passive’s 2019 will need to be a mixture of well-timed and important singles and as many gigs as possible. I think they can justify touring further afield than home and London and their social media following suggests they have a wide-ranging fanbase. Radio and online sites have shown them love and there is evidence to suggest the guys can go very far. I like that they are throwing out into the world and I have faith they can be among the bands to watch next year. Make sure you listen to Like This and get involved with the band. I am seeing few bands who have the same combination of sounds and qualities – meaning Passive can really clean up and go a long way. It is still early days and they are taking things steady. What they have achieved already leads me to believe they will be just fine and make a success of things. Their career and life is quite fresh but, on the basis of songs such as Like This; I feel the future of Passive...

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IS very encouraging indeed.   

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Follow Passive

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INTERVIEW: Big Wild

INTERVIEW:

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Big Wild

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AMERICAN producer Big Wild...

has been telling me about his new single, Heaven, and its story. I was eager to know about the upcoming album, Superdream, and what sort of themes inspired it; the kind of music he grew up around the albums he loves the most.

Big Wild talks about his plans and who he’d like to support on the road; a rising artist we should all look out for and whether there are any tour dates in the diary – he ends the interview by selecting a great song.

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Hi, Big Wild. How are you? How has your week been?

I’m doing well! This week has been busy. Just finished two co-headline shows at Bill Graham in San Francisco and WaMu Theater in Seattle. Now, I can finally decompress a little bit.

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

My music is fairly diverse but often falls into Electronic, Indie and Dance genres. I produce, sing and write it myself so my songs are very much a representation of me.

Heaven is your latest track. Is there a story behind it?

Heaven was inspired by a photograph I found online of rain in the ocean with a man floating in the centre with the biggest grin. It seemed as if this person was in total bliss. I wanted to write a song capturing that feeling; of witnessing something so special, euphoric or breathtaking that it feels like ‘Heaven’.

Your album, Superdream, is out in February. What sort of themes inspired the songs?

Superdream covers a variety of topics that are all rooted in my own personal experiences. Existentialism, falling in love and moving across country are some of the things I sing about. The album is largely a reflection of moments in my life.

You have received support from the Electronic duo ODESZA. How important is that support and faith?

Their support early on was really helpful in getting exposure, understanding the music industry better and putting together a live show. Their role in my career was invaluable.

Are there particular artists that inspired you to get into music?

I first got into music by producing hip hop instrumentals. Artists like Dr. Dre, Pharrel, and Timbaland were my favourites and inspired me to have my own unique sound. Since then, my inspirations have evolved a lot but Hip-Hop producers formed my foundation for understanding and producing music.

Do you already have plans for 2019?

Lots of plans. Superdream drops February 1st; I embark on a headline tour in March and then there are lots of shows planned throughout the summer and the rest of the year. I’m also working on some live sessions and stripped back versions of my new songs so people can hear them in a different light and understand my voice a little better.

2019 is going to be a busy year.

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

Co-headlining Red Rocks. Such a beautiful venue and a perfect night. Definitely a life highlight.

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

Dr. Dre - 2001

Tame Impala - Currents

Gorillaz - Demon Days

All three are super unique especially in terms of production. Finding your own production and songwriting style is such an amazing form of self-expression and I feel these albums embody that.

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

A Neumann U 67 microphone. That’s what I used on this record and I love the way it captured my voice. It isn’t cheap though. Haha.

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

I would want to go on tour with Paul McCartney. Give me a fridge full of kombucha and I’m all set.

What advice would you give to new artists coming through?

Before anything else, focus on having a unique style and sound that is true to who you are. The more my career progresses, the more I realize how the ultimate artistic goal is to create art that is a perfect representation of yourself, vulnerabilities and everything. Establish this as your goal and then build your business and success around it.

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

I’ll be at Decadence in Denver on N.Y.E. and then Holy Ship! in January. After that, I’ll be working on the set for Superdream and then starting the Superdream tour for pretty much all March. I’m hoping to begin playing the new set overseas in 2019 as well...

Are there any new artists you recommend we check out?

I’ve recently found this artist named Louis Cole. His YouTube videos are hyper-creative and his music is really good too.

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

Music is both my main source of stress and relaxation, ironically. When I’m truly unwinding though I like to hike and explore nature a bit.

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).

Only You - Theophilus London (ft. Tame Impala)

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Follow Big Wild

FEATURE: The Good, the Rad and the Beautiful: Confirmed and Rumoured Albums to Look Forward to in 2019

FEATURE:

 

 

The Good, the Rad and the Beautiful

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IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Jenn Five for DIY

Confirmed and Rumoured Albums to Look Forward to in 2019

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WE are still getting to grips with the albums of this year...

 IN THIS PHOTO: Let’s Eat Grandma released their incredible sophomore album, I’m All Ears, earlier this year/PHOTO CREDIT: Getty Images

and the artists who have defined music. It has been a very eclectic and busy one that has seen some terrific work come through. Whether it is the inflammatory and essential sounds from IDLES and Shame or the terrific Jazz of Kamasi Washington; the strangeness of Let’s Eat Grandma or the Pop of Robyn – I have been delighted by the variation and boldness that has been revealed. Everyone has their own interpretation regarding what defines 2018 but I think the raw and more political/social-minded records have made the biggest impression. We have a few more days to go until things start to wrap up but there will not be any big albums coming along that challenge the best of the year. I know there have been some albums announced for next year and others have been rumoured. I am looking around and seeing what next year is already offering and some of the artists who are making a return. One of the artists I am most looking forward to hearing from in 2019 is Billie Marten. Her 2016 debut, Writing of Blues and Yellows, was my favourite of the year. There have been some changes for her – moving from her family home in Yorkshire to living in East London – but her pure and unique voice remains unchanged. As she told the BBC in this interview; not everything is hunky-dory:

"I'm 19 years old - it's the worst thing about me," she says when asked her age.

Expanding on this, she says: "I guess it's just the reaction when you say you haven't even hit your 20s yet...

"Most people's perceptions of you immediately change because they know you've not been on this planet very long. There's a tendency to say, 'Oh, she's just a girl and she doesn't know what she's doing.'"

"In the city everybody's still grafting and working, heads down, and there's no communal love," she says.

"When I go home we're all miserable but we're all in it together, whereas here you're left on your own a lot. The Tube sucks and it's always dark. It's harder".

Marten articulates feelings many of us have and one of the reasons her debut album and new singles like Mice resonate is because she does not hold back and is completely honest. There is never the feeling everything is doomed and she is using music as a way of venting. Her lush, beautiful and enriching version of Folk touches the soul but tells a lot about the teenage artist. CLASH caught up with Marten and she talked about the changes in her music – the upcoming album was made with Ethan John:

“...On the new record, Billie writes new narratives for the people she sees at a glance. Her storybook pokes fun, draws caricatures and unpicks the irony of the world around us, viewing how we as humans adapt and settle in it.

“I’ve felt more independent musically and that I’ve grown more confidence to be a musician in my own right, something I always felt guilty of before. I’ve properly trusted in my body this time around so the instinctual force has been strong”...

Over the last couple of years, Billie has had a small shift in perspective; she now relishes an open space without a poster, and has become more awake to society, and has found a home living above a bohemian couple in their 70s. The songs capture the small strokes of magic that we search for, and a lot of them didn’t exist anywhere except her mind before being recorded.

“That’s quite nice for me because the songs don’t pretend to be something they’re not, they’re just sweet and small and important,” she smiles. Billie Marten is a songbird, and we should take the time to listen to not just the sweet words and tunes, but to the meaning and the story behind each ones”.

Marten did mention the name of her sophomore record when she was on BBC Radio 6 Music recently but it escapes me! I think it will be one of 2019’s very best and for me personally, it is an album I am dying to hear. That is not the only long-awaited album I am excited about. Madonna has announced she is working the follow-up to 2015’s Rebel Heart and it will be good to hear! She has not long turned sixty and the Queen of Pop has kept her cards close to the chest regarding themes and sounds. Rebel Heart was lauded and marked a bit of a return to form.

 IN THIS PHOTO: Madonna watching Migos perform at Wireless Festival at Finsbury Park on 7th July, 2018/PHOTO CREDIT: Joseph Okpako/WireImage

I think she is at her strongest when not collaborating with the ‘hip’ and ‘cool’ producers and trying to fit into the modern mainstream. Rebel Heart boasted a bit more of the true and unique Madonna. Her post-2000 output has been mixed in terms of quality but you can never predict where she will head and what will come next. I am always thrilled to hear of Madonna material and it looks as though songs are coming quite quick. It was hoped she’d release a record this year but there have been delays – expect something early in 2019. I am pumped to hear the debut record from Maggie Rogers. Like Billie Marten; here is a young talent who differs from everyone out there – even if their styles are very different. The U.S. songwriter brings us Heard It in a Past Life on 18th January and it will be the perfect way to banish the winter blues! Light On and Give a Little were released this year and will form part of the twelve songs on the record. Greg Kurstin works alongside Rogers (there are a few others who contributed to the album) and it seems like things have been moving fast for Rogers. She has claimed much has changed and it has all been a bit scary. If life has been disruptive and predictable then the music she is putting out doesn’t show that strain.

 PHOTO CREDIT: Olivia Bee for DORK

In this interview with DORK back in July, she talked about the album (the release date was not known but has been established) and she talked about collaborators and themes:

“It’s impossible not to name-drop when it comes to Maggie Rogers. On her debut album, she’s working with Greg Kurstin, Rostam, and Ricky Reed. She says, “I learned so much working with these people, that I just feel so lucky to have had collaborators like that for this record.” No biggie.

She’s also doing whatever the bloody hell she wants when it comes to releasing singles and the record. “I’m just like, making decisions when I have decisions to make. Right now I don’t need to know what the third single is. I know what the second is. I feel in the flow; I feel good.

Maggie’s totally rewriting the rules for this album release. Going with the flow and trusting her instincts seem to be her mantras for the process. “When you really settle, you already know the answers to all the questions. Just takes a little time. And trusting it, I think that’s the thing I’ve learned over the last two years. When everything’s so new, it’s hard to figure out what your instinct’s saying. Especially when it’s not always the convenient answer.

“This record is a lot about change and transition and how powerful that can be and how exciting that can be but also like how terrifying it can be and anxiety-inducing. It feels like everywhere I look things are changing these days. Whether it’s social, political, personal. Its just kind of something that, as personal as it feels and as much change as there’s been in my life, it also feels like a greater narrative.”

January will also see the release of Alice Merton’s debut, Mint. Singles such as No Roots and Lash Out show what she is capable of and many, myself included, are excited to see what Mint will provide. The German-Canadian artist is one of the most exciting in new music and someone we all need to keep an eye on. Ladytron’s eponymous album is released on 1st February and is the sixth from the Electronic band.  Singles released so far suggest Ladytron will be grittier and darker than their previous work and it seems like they are taking things in a new direction. Nina Nesbitt is releasing her hotly-anticipated album, The Sun Will Come Up, the Seasons Will Change, on 1st February and it follows the incredible Peroxide (2013). White Lies’ Five is also out on 1st February and will be great to see a new album from them. March looks set to the be the biggest and most exciting months for albums in 2019! A lot of albums are rumoured and have no set release date (I shall come to them soon) but there are some huge releases in March. The Japanese House (Amber Bain) releases her album, Good at Falling, through Dirty Hit - and it follows the singles Lilo and Follow My Girl. Here is an artist who has been tipped for success and it has been a little while to wait for a debut album.

 IN THIS PHOTO: Weezer performing at the Osheaga Music and Art Festival on 1st August, 2015 in Montreal, Canada/PHOTO CREDIT: Mark Horton/WireImage

It is understandable given the pressure and work required but many are relieved we get to see an L.P. from the Buckinghamshire gem. There are a lot of great solo acts around but there is something immediately satisfying and wonderful about The Japanese House. Given the material she has already put out; I expect some big critical thumbs-up come March. Weezer release their eponymous album (another one!) on 1st March and, also known as ‘The Black Album’, it has been on the cards for a little while now:

“Weezer frontman Rivers Cuomo first hinted at the album in April 2016, shortly after the band released their tenth album Weezer (The White Album). "What could stand out more against 'White' than 'Black'? I think it's going to maybe be like Beach Boys gone bad. I'm thinking of swearing, which is something I've never done in songs."[2]

While promoting the band's eleventh album Pacific Daydream in August 2017, Cuomo said "The original plan was the Black Album but Pacific Daydream really came together. The Black Album is pretty much ready, it's coming"[3]

Dido makes an unexpected return on 8th March with her album, Still on My Mind. It is her first album since 2013’s Girl Who Got Away and it is good to have her back on the scene!  It’s only single so far, Hurricanes, is a more Electronic and tougher cut than one would expect and, like Ladytron, might suggest the songwriter is heading in a new direction.

Dido has also announced tour dates – she has not taken to the stage for many years – and many are curious to see what her upcoming album will contain and whether it mixes in a new direction with elements of previous albums such as No Angel. It seems female artists are defining the sound of 2019’s first-quarter and a new Lana Del Rey album backs that up! Norman Fucking Rockwell is out on 29th March and looks set to make waves. She only release an album last year – the excellent Lust for Life – and the single Venice Bitch shows she is in incredible form. This article from Variety (from this September) announced the album and a few details:

“Lana Del Rey’s career is filled with eyebrow-raising moments, and we got another one on Tuesday when she announced on Beats 1 that the name of her new album will be “Norman F—ing Rockwell.”

She told host Zane Lowe how the title of the album, a collaboration with Bleachers frontman Jack Antonoff (Lorde, Taylor Swift, St. Vincent) as well as her usual crew came about.

“Working with Jack, I was in a little bit of a lighter mood because he was so funny,” she said. “So the title track is called ‘Norman F—ing Rockwell’ and it’s kind of about this guy who is such a genius artist, he thinks he’s the sh– and he knows it and he won’t shut up talking about it. So often I ended up with these creative types — or not, or whatever — and they just go on and on about themselves and I’m like yeah, yeah. But there’s a little bit of merit to it, also. They are so good. I just like the title track so much that I was like OK, I definitely want the record to also be called that”.

We know The 1975 will bring us Notes on a Conditional Form – date is not known yet – and only just released the epic A Brief Inquiry into Online Relationships. It is surprising to see the band release too albums so close to one another but it is evident they are in exceptional and career-defining form. The reviews that followed A Brief Inquiry into Online Relationships were staggering. SPIN recently provided their thoughts and there are many similarly-impressed reviews:

“How often does your carefully curated persona misalign with your actual personality? How much suffering could you avoid if you gave up the game entirety? And why the hell should you believe Matt Healy when he offers the same alternatives to meaningless sex and screen time that you ignored from your parents: Honesty is the best policy, dare to be great, give yourself a try. It holds weight because the 1975 are living proof, even if he doesn’t always take his own advice. Try and find the earliest video of “Sex,” with their severe haircuts, black-and-white branding, and Johnny Cash posters. This was a group of young men trying so damn hard to be perceived as austere and cool, while critics claimed to see right through them. Six years later, the critics are on their side, and it doesn’t even really matter. The 1975 are still whoever the hell they want, and completely themselves”.

 IN THIS PHOTO: Adele (photoed in 2015)/PHOTO CREDIT: Alasdair McLellan

There are no album titles of confirmed dates yet but we know 2019 will see new albums from The Raconteurs, Adele and Coldplay. Sheryl Crow also promises new material and it seems like there is a lot to get excited about. It will be interesting to see how both The Raconteurs and Adele sound after a fairly long gap – The Raconteurs’ previous album, Consolers of the Lonely, was released in 2008; Adele’s 25 was released in 2015 – and whether they will make a big splash! This article from Monster Children brings in a few other rumoured albums that are worth looking forward to:

“In October of 2016, the world received a truly magical gift: Solange’s third full-length album, A Seat at the Table. Oh, what I wouldn’t give to pull up a chair at one of Solange Knowle’s dinner parties. I bet she’s a fantastic cook, too, because is there anything she can’t do? She even managed to rock hives at her wedding. Seriously, the amount of cool she omits is almost offensive. Anyway, earlier this year, New York Times journalist Ayana Mathis published an article saying we should expect a Solange release “this fall, probably sometime soon.” Alas, fall has come and gone, so Solange updated her Instagram bio last week to respond to the increased speculation. It reads: “prolly next year.” Suddenly 2019 can’t come soon enough...

IN THIS IMAGE: Tom Waits/IMAGE CREDIT: Peter Ochabski  

Okay, so I’ll admit that this one might be more of a personal wish than a well-informed rumour. BUT, hear me out. In April of this year, Chris Douridas of LA-based KCRW radio announced on his show that Tom Waits is “at work on a new album.” I know because I listened to the audio posted here. Is a ten-second audio clip enough evidence to make such a declaration? No, but I’m doing it anyway because there’s only so many times I can listen to “Bad As Me” before I quite literally go crazy.

Speaking of musicians who take their sweet-ass time to release records, remember when we all waited 14 years between D’Angelo’s Voodoo, and his 2014 follow up, Black Messiah? It turned out that D’Angelo was dealing with some pretty serious substance abuse issues throughout that time, and Black Messiah was totally worth the wait anyway. It looks like we won’t be cooling our knees for much longer though, with the soul singer cancelling a performance earlier this year because he was “deep in the recording process”. Fans have put the rumour mill into overdrive ever since, and I’m not too ashamed to admit I’ve been caught up in the hopeful hysteria”.

A lot of new releases and announcements will come along pretty soon but, from what we have heard already, it seems there will be some big records out! Whether you want a bit of Madonna or Billie Marten; a great debut from The Japanese House or another album from The 1975 – a lot of variety and anticipated albums are coming our way. 2018 has been a huge year for music and we have seen some of the best albums of the past twenty years released this year. There is no reason to suggest 2019 cannot match that quality and it many are already looking ahead. Keep your eyes and ears peeled but, from what is announced and rumoured, it seems that 2019...

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 IN THIS PHOTO: Billie Marten in 2016/PHOTO CREDIT: Dannye Payne for The 405

WILL not disappoint!

FEATURE: Too Many Cooks: Should Artists Be More Singular and Self-Reliant?

FEATURE:

 

 

Too Many Cooks

PHOTO CREDIT: @iamjohnhult/Unsplash 

Should Artists Be More Singular and Self-Reliant?

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MAYBE there is a lack of necessary talent and skills...

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 IMAGE CREDIT: Getty Images

but I am finding so many albums overloaded with producers and writers! Albums throughout time have been stuffed with engineers, producers and songwriters and I wonder, really, whether there is any need. This year has been no exception. Take a record like Isolation by Kali Uchis. It is a fabulous album and one that I feel should be regarded as one of 2018’s very best. Whilst I love what Uchis does and think she has a great sound; her album has twenty-two producers! There are fifteen songs on the album and it seems like there are far too many people working on it. Some might say this marks a lack of ability from the artist but I actually feel Isolation – ironic in title! – would be stronger is Uchis took more control. Tommy Genesis’ exceptional eponymous album has about thirteen producers and it looks really offputtng when you see it. I know being a ‘producer’ in today’s music can mean an artist who collaborated and had minor input but I would like to see more focus and streamlining in music. Although some of this year’s biggest albums – from the likes of IDLES, Kamasi Washington and David Byrne – had a few producers on them; it is still a much more muscular and focused look. Maybe three or so producers is not so bad and it offers perspective and range. I would argue a single producer would create a more cohesive and tight record but that is my opinion!

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 PHOTO CREDIT: @pawelj/Unsplash

What bugs me is how busy and crowded records are. If an artist wants to collaborate with a few different musicians then that is fair enough. It is this idea that those collaborated are producers and warrant that sort of credit. You have these albums that arrive and the central artists is buried in a sea of producers and writers. Even modern-day icons like Beyoncé have endless producers on her albums and it seems unnecessary and ridiculous. Many might say the records are as memorable and celebrated because of the different voices but who is to say the artists themselves could not have handled the responsibilities? It is more an issue with solo artists but I hate seeing song credits and having an army of writers and producers. Not to sound like an old man but all the best and most enduring artist of the past had very few cooks in their kitchen. They might have had a producer and sound engineer but, when it came to the writing and creative side, there were very few others involved. I know icons from across time have suffered this bloated approach to music – including Pop legends like Madonna – but it seems to be happening a lot today. One reason why the mass of producers and writers piling in annoys me is because it takes something away from the artist.

 IN THIS PHOTO: Madonna/PHOTO CREDIT: Getty Images

If there are so many others calling shots and having their say then it is much more of a group effort than a solo project! I admire those who seek out new producers and can collaborate with others but that can be done economically and without packing too many into the studio. There is this argument between getting the sound right – even if that does involve a lot of other people – and ensuring the central artist has their role and does not have a minor role. Look at the best albums of this year and, largely, they are slim and muscular when you look at the producers and writers. Most genres are culpable and I was shocked a while back when Ed Sheeran released Galway Girl – an awful racket! – and there were nine writers listed! I mentioned this a while back but how can you have NINE people writing a song?! It is almost like they all pitched a few lines or a few words each! Given that it (Galway Girl) is not a Pink Floyd epic or Bohemian Rhapsody; one wonders why it takes so many people to write such a thing! Ed Sheeran is someone who does not have too many others write his songs but on his last album, ÷, I counted eight producers! It is very rare to hear the unique and personal voice of an artist if you have so many different people pulling their own way.

I am trying to think of an occasion when an album has been so chocked with names and it has stood the test of time. Maybe the likes of Madonna are rare exceptions but I feel the best and most resonating music is that which is largely controlled by the artists themselves. It is good to have a couple of co-writers but is modern music defined by a raft of other bodies! Look at two very good and different Pop albums. The stronger effort, Robyn’s Honey, had about five producers and the co-writing credits are quite slender. A less challenging and nuanced record (but still very good) is Rita Ora’s Phoenix. There are, would you believe, twenty-eight producers listed! Each of the twelve songs, bar one or two, are crammed with co-writers and it makes me wonder why so many people were needed! I have listened to the record and the lyrics are not that demanding; the production is solid but hardly the work of Tony Visconti! Do we truly need SO many human beings to make such easy music? The only way I would ever feel comfortable reading a list of producers so long is if an artist sampled others and was crediting them. Maybe there is that thing where modern artists and producers are keen to be associated with a big name like Rita Ora – or being a producer or writer requires very little input. The albums I have listed – full of writers and producers – have all been acclaimed and proved popular but that is not to say they would be weak if fewer people were involved.

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 IN THIS IMAGE: The cover for Rita Ora’s new album, Phoenix/IMAGE CREDIT: Getty Images

I am not even narrowing down the argument to mainstream Pop. From credible Rock bands to Hip-Hop and Rap artists; it seems to be the way things are going. That is also not to say modern music is purely about a lack of focus and clarity. So many artists are capable of writing all their own songs or keeping things very uncluttered. It is not only writing and production credits that can make the eyes water. Look at the music that has come through this year and, again, the best tracks are those with few voices in the mix. This is more of a modern problem but we have so many tracks that pile artists together. I have streamed some songs that have had about five or six other names on them! You open a song on Spotify and there is this endless scroll as we see all the other featured artists. When you hear the song, the contribution of others is little more than the odd grumble, word or interjection. I will bring in a few different articles (penned in various different years) that speculate why so many artists bring so many different people into the mix. Last year, the BBC published an article that explored the nature of the modern hit:

“A new study by Music Week magazine shows it now takes an average of 4.53 writers to create a hit single....

The publication analysed the 100 biggest singles of 2016, and found that only four were credited to a single artist - Mike Posner's I Took A Pill In Ibiza, Calvin Harris's My Way; and two separate hits by rock band Twenty One Pilots.

Ten years ago, the average number of writers on a hit single was 3.52, and 14 of the year's top 100 songs were credited to one person, including Amy Winehouse's Rehab and Arctic Monkeys' When The Sun Goes Down.

The best-selling song of 2016, Drake's One Dance, needed eight writers - but even that pales into insignificance compared to Mark Ronson's Uptown Funk, which took 13 people to create, leading Paul Gambaccini to brand it "the most written song in history".

PHOTO CREDIT: @rawpixel/Unsplash

(To be fair, Uptown Funk originally listed a mere four writers, but others were added when it was noticed the song bore a resemblance to The Gap Band's 1979 hit Ooops Upside Your Head.)”.

According to Mike Smith, managing director of music publishers Warner/Chappell UK, it is simply that the business of making music has changed.

"Think back 20 years and an artist would take at least two or three albums to really hone their craft as a songwriter," he told Music Week.

"There is a need to fast-forward that process [which means record labels will] bring in professional songwriters, put them in with artists and try to bring them through a lot faster."

All this unfettered creativity sounds idyllic, but there is a downside. If you have 13 writers on a song, each of them gets a slice of the royalties when it's purchased or played. And the money doesn't get shared equally, which means lesser-known writers who contribute a line or a lick to a hit song may only get 1% of the profits....

PHOTO CREDIT: @blankerwahnsinn/Unsplash

And then there's the issue of homogenisation. If the world's biggest artists all employ the same writers, could your dad actually be right when he claims "all music sounds the same these days"?

For Scottish pop band, Chvrches, that's a real risk.

"People don't make albums any more," synth player Iain Cook told BBC News in 2015. "They make 11, 12 songs, and they put them out as an album but they feel like a greatest hits, or a playlist.

"And maybe out of those 10 or 11 songs, those co-writes that you do, there's a global number one. But it's not yours."

Singer Lauren Mayberry added: "When I listen to our record, I listen to it and think, 'that has a strong identity'”

That is a lot of information to take in but a few points comes through. The lack of identity and using the same writers for different artists; having this rather factory-like approach to creativity – is this what popular music is about? This article (from 2008) looks at the lucrative business of collaborating and investigates the issue of cuts and royalties.

“I sometimes get asked by songwriters what percentage they should ask for when they collaborate with other writers and artists. Some writers that write the so-called "top-lines" (vocal melody and lyrics) feel that they should get more than 50%, claiming that that's pretty much the whole song and the rest is production and arrangement.

I usually respond with the question: "Do you ever want to work with this person again?" If the answer is yes, I strongly advise equal splits all the way. Do you think Lennon and McCartney would have written half the classics they did if they'd spent their time arguing about who wrote what, and trying to get more songs than the other onto each album?”

 PHOTO CREDIT: @neonbrand/Unsplash

Other genres, like Hip-Hop, are a bit more complicated to navigate and explain:

“When it comes to hip-hop (and sometimes R&B) the question of songwriting splits can become even more intricate. Look at the credits of some of those records and you'll see up to ten names on one single track. Sometimes it's due to all the samples they've used, but often it's because producers set up a groove and invite a crew of people to jam on it. Then the publishers tear their hair out, as it's difficult to give a writing credit to "Vernon from Prospect Park" and "Al from around the way" without having any more information than that”.

I will bring in one more article, from 2015, that seems to define the modern-day songwriter and how music has become much more of a machine and business than ever:

 “So they note down a few useless, illiterate lyrics and the ‘music guys’ come in and build a song around them. It’s remarkable how many professional songwriters are people who had a go at being performers and didn’t sell as many records as their talents might have merited. I see that Dan Wilson, once of powerpoppers Semisonic, has been working with the Dixie Chicks, Taylor Swift and John Legend, and co-wrote Adele’s ‘Someone Like You’. And one of my favourite songwriters, Gary Clark, who wrote and sang ‘Mary’s Prayer’ for Danny Wilson and many other songs that should have been hits, now lives in the US and shapes whole albums for the likes of Natalie Imbruglia and Delta Goodrem. As they say, it’s a living”.

PHOTO CREDIT: @danielcgold/Unsplash 

I do realise there are plenty of musicians who do not rely on an army of others to create their songs and we have genuine artists who can write, produce and perform without the need to lean on hired guns and professionals. I do get a bit tired seeing songs crammed with other voices and these credits that take forever to read! The artist gets all the credit and their voice is the main focus but, if you strip away these big albums and songs; do we really have enough of the artist standing out?! I think so many popular albums and acts depend on hired songwriters a legion of producers to make something that should come from their own mind. I think more artists should either tighten when it comes to collaboration or they should shoulder more of the songwriting/production duties. I think music is much more connective and deep when we get more of the artist’s say. Having too many cooks add their ingredients creates this hybrid and synthetic experience that is more about money and formula than it is creative expression. It should not matter how many people create good music but we have a generation coming through who idolise artists and what they are putting out. If we are saying the way to get a big album in the charts is to work with a dozen other people then that seems wrong to me! We should be encouraging artists to be self-reliant and trust their own voice; not have to rely on so many others and, at the very least, work with a very small team. I do not think it is a coincident that the best and more striking music, past and present, has been created by artists...

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 PHOTO CREDIT: @andrewwelch3/Unsplash

WHO do not rely on so many others to make the magic happen.

INTERVIEW: Johanna Glaza

INTERVIEW:

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PHOTO CREDIT: Willie Nash

Johanna Glaza

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THANKS to Johanna Glaza...

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PHOTO CREDIT: Willie Nash

for talking about her epic new single, Albion, and the E.P. of the same name (out tomorrow); what is coming up next year and how the Lithuanian-born, London-based artist mixes those two rather different lands – Glaza highlights a rising musician that we should have a look at.

I ask whether there are tour dates coming and whether she has a favourite music memory; the albums that are most important in her life and who she’d support on tour given the chance – she ends the interview with a great track selection.

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

I’m good, thanks. I’ve been trying to spend more time off line this week and it feels wonderful.

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

I’m an independent, London-based artist, writing long Baroque-Folk songs with an Avant-Garde twist.

Albion is your latest track. Can you reveal the inspiration behind the song?

I intended to compose a song using William Blake’s words just for fun for a friend of mine but ended up writing an eight-minute piece which took me months to complete. The dramatic events of the poem perfectly mirrored my own heart at the time. 

It is from the E.P. of the same name. What sort of themes and ideas influenced the music?

The desire to live and to be alive. I was coming out of grieving for my both parents whom I lost one after the other.

You are from Lithuania but based in London. Is it easy to balance the two worlds?

They merged naturally into one strange world for me. I need both the energy of metropolis and the complete solitude in the wild. The only difficulty is trying to figure out where am I in the first seconds after waking up.

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 PHOTO CREDIT: Willie Nash

In terms of artists; who do you count as idols?

They die in me from time to time. At this moment, I’m still looking for the new one. 

Do you already have plans for 2019?

I fear the word ‘plan’ more than anything. I just hope to keep doing what I’m doing.

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

The shooting of the video for Albion felt like being in a different world. I’d love to relive it.

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PHOTO CREDIT: Rachel Poulton

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

Good question: I never thought about it. Music has always been there in my life. Like oxygen - I didn’t question it. It's my own world I can escape to any time.

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

Björk – Debut

For breaking all the boundaries I knew at the time.

Joni Mitchell – Blue

For being so naked.

Roy Harper – Stormcock

For teaching me that a song is not just a verse-chorus thing.

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

One way ticket to India? Don’t ask me why (smiles).

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PHOTO CREDIT: Rachel Poulton

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

I’d love to support Julianna Barwick for the show in Iceland and would ask them to build us a church made of ice. It would melt as we sung. 

What advice would you give to new artists coming through?

Stay away from perfection.

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

Come and say ‘hi’ to The Finsbury, London on Jan 21. More dates to be announced on my social media soon.

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 IN THIS PHOTO: Vesper Wood

Are there any new artists you recommend we check out?

Vesper Wood is wonderful. 

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

Fetching the water from a well with a bucket for my countryside hut keeps me grounded. 

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).

Please play Linda Perhacs – Parallelograms

Thank you for your lovely questions and your support. Have a great week.

___________

Follow Johanna Glaza

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INTERVIEW: Jim Junior

INTERVIEW:

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Jim Junior

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THE excellent Jim Junior...

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has been telling me about his latest single, Is It the Right Time, and its background. I ask him what is coming next and what music means to him – he selects a few albums that means a lot and recommends some rising artists worth checking out.

Jim Junior discusses his musical background and looks ahead to 2019; gaining a solid reputation in his hometown and what advice he would give to artists coming through – he selects a great song to end the interview with.

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

Creatively fulfilling and exciting as I have discovered a new tonic wine that stimulates my faculties in the studio and makes me feel great.

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

I go by Jim Junior. I am a singer-songwriter and producer and multi-instrumentalist from Toronto, Canada. I have a background that includes House music, Jazz; Country and Hip-Hop. I mostly produce and write my material and people tell me they like it.

 

Is It the Right Time is your new track. Can you reveal the story behind it?

Yes, I can. I wrote it about two years ago in Toronto. I was riding the Subway (your tube) home from my then-day job and had this chord progression spinning around in my head. At some point, the lyric hit me and I arrived home at around 2 A.M. I fired up my computer and started putting it together.

The lyrics just happened. I was feeling intoxicated and excited but also nervous about romantic aspects of my life, not knowing where to turn but also feeling a deep sense of inevitability. I think it’s just that feeling of limbo I was trying to capture in the song.

You are signed to LAB Records. What was the reason behind that move? What is life like under the label?

They offered me the best deal. It’s like having a cool uncle with money who also knows people at Spotify.

Will there be more material coming next year?

Yes, there will. We are potentially seeing some remix type stuff in the short-term; some collaborations in the spring and likely another body of tunes from juste moi. Expect things to get wilder musically...

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

Not really; it was so early in my life that I just always wanted to be playing and singing. I think around thirteen was when I consciously conceived of it as a job - but it was always like water for me.

Is it true you are known in your Canadian hometown for illegal parties?! Did that, alongside your D.J. skills, help spur you to where you are now?

Well. I am known for a lot of things in my hometown. My circle of friends got to putting on events in D.I.Y. spaces starting around 2010 where we sold drinks and provided music. My project kind of blossomed out of that as I got into writing this brand of R&B that I though could sit alongside the House and Hip-Hop that was getting spun. I was usually just the warm up D.J. and mostly played older Disco and Funk records but, when sh*t got going, other guys would spin and I would toast (emcee) on top of the House records, improvising lyrics and even writing whole tunes on the spot sometimes.

So, I learned how to work a club crowd, got more into Dance music - to which I was somewhat new - and my sound changed. I started using more drum machines and synths, changing how I approached my melodies etc. It was a blast.

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Do you already have plans for 2019?

Doing some dates in Canada in the winter. Hoping to put together a full batch of songs for the spring and travelling as much as I can.  

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

No, to be honest. Haha. It’s all been a joyous whirlwind.

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

I don't really exist comfortably without it. It's the centre of my being and the medium in which I am my most natural self.

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

A Love Supreme - John Coltrane

When I was about twelve-years-old, I would put it on every night before bed and find the spot where I had fallen asleep and start from there in the morning. I did this for about three months I think. It was such a pure and brilliant compromise between raw improvisation and composition that it captivated me over and over.

This Year's Model - Elvis Costello and the Attractions

Learned to play bass from this guy.

Lifestylez ov da Poor & Dangerous - Big L

The Hip-Hop record that completely took me in and turned my head out.

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

Probably for Canada to recognize its continued abuse and neglect of its native population and deal with it in more than a cursory way.

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

I would love to support any artist with a fan base with whom my stuff would resonate. I don’t know who that is but my rider would include rum, ginger beer and chicken.

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What advice would you give to new artists coming through?

In terms of the music itself, figure out what makes you shine as an individual and develop that. There are a lot of talented people doing what someone else does, just not quite as well. Don’t fall into that trap. As far as the industry is concerned, I am still figuring it out - ask somebody with real success.

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

I am planning a few dates in Canada in the winter but it’s pending. I expect to be playing in impromptu circumstances and only if the money is right. Otherwise, I am at Handlebar in Toronto in January. Check IG.

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

It’s the only way musicians can really make a living now, so that’s the main thing. I hope we start to see more flow from streaming as we figure out how the whole Internet thing will continue to work; but for now we gotta hit the stage. I have a performance background and I love it the same as I love writing and recording...so it’s a big part of my thing. I think a lot of artists today are lacking in live chops and, considering the circumstances I’ve described, that seems kind of backwards.

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 IN THIS PHOTO: Birthday Boy/PHOTO CREDIT: @mayafuhr

Are there any new artists you recommend we check out?

Birthday Boy and Harrison out of Toronto make some of the cooler Hybrid music with a real back-beat out there. Also from Toronto are Casey MQ and Myst Milano. I love NAO from the U.K.

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 IN THIS PHOTO: Casey MQ/PHOTO CREDIT: Haley V. Parker

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

I force myself to hang out without a recording setup sometimes, yeah. I love to cook and did it for many years as a day job, so I’m pretty decent. Otherwise, I love watching sports and talking politics, history and philosophy.

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).

Let’s put on SAINT off of Birthday Boy’s latest E.P. - cause he probably won’t ask anyone to play it…

___________

Follow Jim Junior

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INTERVIEW: The Mojo Cams

INTERVIEW:

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The Mojo Cams

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IT has been interesting speaking with Steve Bull...

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about his musical moniker, The Mojo Cams, and how that came to be. He talks about his David Bowie-inspired project, Nebula Tuesday, and the latest song from it, These Are the Days – he reveals a few albums that are especially important to him.

I ask Bull about combining literature and music together and whether there is a natural connection; what he has planned coming up and what his favourite musical memory is – he ends the interview by selecting a great Kate Bush song.

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

I’m doing okay, thanks. How are you? I’ve been getting out and about and enjoying the early autumn mornings the last week or so. The amazing colours of the trees and the falling leaves seem to make me want to reminisce.. I’m hoping it will inspire me to write something.

It’s been such a very busy time with non-music stuff recently so it’s really nice to take time out and have a chat with your good self about creative matters!

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

I am a songwriter and composer with a keen interest in digital art. I love to get artists together to develop new songs and recordings. I like to produce music via collaborations and conceptual ideas. The Mojo Cams is my vehicle for delivering this music.

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Can you talk about Nebula Tuesday and what it is about? When did the idea come to you?

The idea came to me shortly after David Bowie died. Nebular Tuesday is essentially about how we treat the ‘others’ in life: how we view strangers and outsiders who don’t see the world the same. It is also about injustice and truth.

In the initial stages, I was developing an idea for a concept album. I was also looking to reflect the changes in the cultural and political climate. It started off and remains, thematically dark. I wanted to speak about the blighted concept of ‘fact’; the rise of the populist right and xenophobia. Nebular has grown its own arms and legs now. It’s a fully-scripted musical story and I’m not exactly sure how that happened.

I’ve put some tunes in there, though. It’s not all heavy…

The first track, These Are the Days, sets the story. Were you inspired by particular films or books regarding the story arc?!

Absolutely. I was thinking about The Wicker Man and all its weirdness and spooky isolation. The setting and the feel were a definite colouring of my vision for Nebular. I also had Straw Dogs (the original) in mind - to express the terror of the outsider in the story.

Might we see another project like Nebula Tuesday in the coming months/years?

I’m in talks to produce a musical dramatic work concerning the Scottish bard Robert Burns just now. I’m also working on the songs of a new musical that I hope to unveil early next year. Don’t want to say too much in case I jinx it....

Do you feel there is a natural link between music and literature - and should more musicians create form a literary viewpoint?

Well. There is a link, in the fact that songs are essentially literal due to the words and concepts of lyrics. Great lyrics often set dramatic scenes, tells stories and explore themes in a very concise and clever way. Writing Nebular; I found that matching a lyric to a dramatic scene and storyline can be somewhat limiting and, conversely, a focus for ideas.

I had never really tried writing songs in this way before. The lyrics had to be described through the eyes of the characters in the story and confined by their motivation and situations. This forced me into a new way of developing words.

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Should more musicians explore this? Well, I quickly realised that it was definitely something I should have been doing all along. It was creatively liberating in the sense that I could say things through a character that I could never say personally. Artists who write for other people must experience something similar.

Overall though, I feel that music is most relevant when it explores an empathic and emotional narrative. When the listener is captured, immersed and taken on an internal journey then I suppose they are experiencing music in its purest form. Whatever device a songwriter or composer uses to accomplish this is absolutely fine by me. It is not an easy thing to do. In songs, stories and themes will always play a part.

Do you already have plans for 2019?

I am looking at taking Nebular towards a full stage/screen production. I also have other projects on the go that promise to take up all of my time.

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

I’ve met loads of famous people. Muse, U2. Very cool experiences. I’ve had a write up in The Big Issue. Geri Halliwell was on the next page. A big highlight was supporting The Levellers and having Eddie Reader’s son ask for an autograph!

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

Guns N’ Roses – Appetite for Destruction

For the sound of the guitars - and it sounds like they recorded it all last week.

Portishead – Dummy

For the spookiness the Mellotron, the vocal and the otherworldliness of it. It’s a seminal album that’s for sure.

Kate Bush – Hounds of Love

Because it’s Her Majesty Kate and that is enough. Right?

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

I would absolutely LOVE a two-in-one Neumann 24x4 analogue summing mixer by Vintage Maker. Sorry...you’re none the wiser? Gearhead geek alert! Do you think they will send me one now that I have mentioned them in your interview? In time for Christmas?

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

I would love to support Noel Gallagher. The rider would be beers and a copy of The Beatles Anthology.

What advice would you give to new artists coming through?

If everyone is running into the six yard box, head for the wing. Someone might pass you the ball.

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

There may be some conventional gigs in 2019 but, right now, I’m organising a rehearsed reading of Nebular Tuesday in February.

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 IN THIS PHOTO: SIAN

Are there any new artists you recommend we check out?

I love the vocal group SIAN

Niteworks (ft. Sian) - Air Fàir an Là:

‘Air fàir an là’ means ‘At dawn of day’. It’s a traditional Gaelic ‘waulking song’ and the melody is utterly gorgeous. One of the Sian singers, Ceitlin LR Smith, sings in English on Nebular.

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

Digital painting keeps me off the streets. Sometimes.

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).

Please play Experiment IV by Kate Bush. Nigel Kennedy’s in it you know and I can play violin...so there...

___________

Follow The Mojo Cams

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FEATURE: Sprouts for Christmas: The Return of the Peerless Paddy McAloon

FEATURE:

 

 

Sprouts for Christmas

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IN THIS PHOTO: Prefab Sprout’s Paddy McAloon (circa 2013)/PHOTO CREDIT: Kevin Westenberg

The Return of the Peerless Paddy McAloon

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THIS new announcement and news from Paddy McAloon...

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 IN THIS PHOTO: Paddy McAloon captured in 1985/PHOTO CREDIT: Michael Putland

is not promising fresh material in the coming days and weeks but it does seem, by September of next year, there will be more music from the Prefab Sprout lead. Prefab Sprout is essentially McAloon himself and the previous album, Crimson/Red, was made with producer Calum Malcolm. That record is a terrific thing and was made after McAloon forgot he had to get an album out. He was phoned one day to say he was overdue and, in a panic, retreated to his archives and selected some songs that he could do fairly quickly. If the process seems rushed then you cannot say the execution is sloppy and lacks quality. It is one of the best albums from the Prefab Sprout catalogue and has all the usual and reliable threads we expect from McAloon. The Durham-born songwriter did a couple of interviews around the release of Crimson/Red and it was nice to hear him talk so openly about the record and his absence. Let’s Change the World with Music was released in 2009 so there was a little bit of a gap. McAloon, when interviewed, was in great spirits and talked about the making of Crimson/Red and the inspiration behind some of the songs. He stated, when speaking with Mark Radcliffe and Stuart Maconie on BBC Radio 6 Music that he likes character songs and, on the album, you get some vivid stories and so much colour.

It is a fantastically written and realised record that impressed critics and stood out as one of 2013’s very best. Uncut, in this review, talked about the traits and magic elements of Crimson/Red:

“But the final triumph of Crimson/Red doesn’t lie in the usual smart artifice. It lies in the fact that it is ridiculously catchy. McAloon assembled these songs from the vaults – “The Old Magician” is 16-years-old, “List Of Impossible Things” has been tinkered with for a decade – on a deadline, and decided to forgo his normal tendency to take a hookline and sink it beneath modal twists and muso turns, and just let the choruses breathe. All of the songs mentioned plus the harmonica-led, yacht-rock note-to-self of the endlessly repeating “Billy” are once-heard, forever-whistled earworms, destined to get you humming annoyingly at the checkout in Tescos.

The result is an album that cuts through much of the cerebral work that being a Prefab Sprout fan generally entails, in favour of mainlining directly to the heart. It’s a genius pop album by a genius pop singer-songwriter. Or: A universally accessible joy from a particularly clever bastard”.

It is hard to deny the brilliance of the album and, as Paddy McAloon interviews are rare, it was good to hear the man speaking and revealing what he has been up to. One of the reasons why he is not touring and recording more is because of hearing and sight issues. He has damaged hearing and it means, if he were to tour, it would be him strumming a guitar – a nervous experience and not one he is willing to explore.

There are constraints when he records and working as he did back in the 1980s is not going to be possible. I hoped McAloon would announce a new Prefab Sprout record and, whilst we do not have a lot of detail, he did speak with Today reporter Nicola Stanbridge about his plans. It is great that he is working away and, when it comes to sprouts at Christmas; it is nice to have a bit of Prefab on the plate! It is a present and tantalising revelation from McAloon and, as he says in the interview, he hopes to have something out in September – if his hearing holds and he can put it all down on tape. I have often and long regarded Paddy McAloon as one of the greatest songwriters the world has seen. Ever since Prefab Sprout’s debut, Swoon, in 1984; the man has been able to pen songs like nobody else. Witty, intelligent and utterly absorbing; you are drawn into his world and struck by his striking pen and brilliant use of language. Maybe we all know the band from The King of Rock ‘n’ Roll (from 1988’s From Langley Park to Memphis) but many critics felt it was the band at their more commercial and less potent. That songs, especially, holds weight and significance to me as it is one of my earliest memories. I was five when the song came out and, as it was played a lot on radio at the time, it was hard to miss it.

I was at a theme park with my family – it was a warm day and there was a sort of beach there – some sand and chairs around swimming pools to simulate a beach – and the song was playing on a tannoy as we were coming in (and was being played as we walked around). I love the chorus and catchiness – jumping frogs and hotdogs... – and it remains one of the band’s best-loved numbers. To be honest, it is hard to define Prefab Sprout and get to the roots of Paddy McAloon. He can write songs of heartache and longing like nobody else but come up with these strange and wonderful character studies. Cleopatra is the new song McAloon is working on and currently doing the vocals for. As he said in the current interview; he has been interrupted by various things – his hearing went badly wrong and he was working with Spike Lee – and it seems he is in a place where he can focus on the record. The last ‘song’ we hear from McAloon was released online back in March last year. Entitled America, it seems to be this calling for clarity and stability in a beautiful nation. Rather than attack President Trump and get angered; the vocals are warm yet carry urgency. It was an unexpected delivery from McAloon and I wonder whether the song will feature on the upcoming Prefab Sprout record. In a time of turmoil and national crisis; it is nice to hear from Paddy McAloon and I am already excited by the prospect of some delicious Prefab Sprout. Whilst we wait for a new studio album from Prefab Sprout – one assumes it will be another solo effort without the original band members – I have collated the five essential Prefab Sprout albums that you need to get involved with. Whether you are a diehard fan or a new convert; have a look at these golden Prefab Sprout record and...

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 IN THIS PHOTO: Prefab Sprout’s Paddy McAloon and Wendy Smith (date unknown)/PHOTO CREDIT: Getty Images

MAKE sure they are in your collection.

ALL ALBUM COVERS: Getty Images

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Steve McQueen

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Release Date: June 1985

Labels: Kitchenware/CBS

Producer: Thomas Dolby

Buy: https://www.amazon.co.uk/Steve-McQueen-Prefab-Sprout/dp/B001GTUN38/ref=ice_ac_b_dpb?ie=UTF8&qid=1544623320&sr=8-1&keywords=prefab+sprout+steve+mcqueen

Information:

“On an episode of the BBC Radio 1 programme Roundtable, musician and producer Thomas Dolby, a panelist on the programme, spoke favourably of Prefab Sprout's "Don't Sing", a track from their 1984 Swoon.[2] The band subsequently contacted Dolby, who met with frontman and primary lyricist McAloon in the latter's County Durham home.[2] McAloon presented Dolby with a number of songs he had written, "probably 40 or 50" by Dolby's estimate,[3] some written as far back as 10–12 years prior.[2] Dolby then picked his favourites and asked McAloon to make demo recordings of them; these recordings served as the basis for Dolby's initial process of planning the album's recording.[3]

In the autumn of 1984, Dolby and Prefab Sprout began working on the album's songs in rehearsals at Nomis Studios in West London; after these sessions had commenced, they moved to Marcus Studios for proper recording.[4] The sessions were mutually amicable, with the band being respectful of Dolby's edge over them in recording and musical experience, and Dolby himself keeping into account the band's wishes, knowing that McAloon "wouldn't want to be diluted" by Dolby's additions to the album.[4] Subsequent mixing was carried out at Farmyard Studios in Buckinghamshire.[4]

The bulk of Steve McQueen's sound is dominated by Dolby's lush, jazz-tinged production.[5][6] McAloon's songs touch on a number of themes, including love, infidelity, regret and heartbreak,[5] and are lyrically "literate and humorous without being condescending in the slightest"[7]  - Wikipedia

Review:                                                                                   

“I think he needn't be so bashful; one of the defining qualities of the record is its pop ambition, its willingness to engage with its times, precisely by not being a sullen singer-songwriter would-be timeless classic. Imagine if Sinatra had decided that Nelson Riddle's arrangements tied his albums to closely to the early 50s. According to this additional disc, Steve McQueen might have been some perfectly prim and pleasant Go-Betweeny acoustic curio, rather than how it ended up: the kind of record you imagine Elvis Costello might have made had he been signed to ZTT and been ensconced in a studio with Trevor Horn” – Pitchfork

Standout Tracks: Faron Young/Bonny/Appetite

The Ultimate Cut: When Love Breaks Down

From Langley Park to Memphis

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Release Date: 14th March, 1988

Label: Kitchenware

Producers: Thomas Dolby/Jon Kelly/Paddy McAloon/Andy Richards

Buy: https://www.amazon.co.uk/Langley-Park-Memphis-Prefab-Sprout/dp/B001GUKEZY/ref=sr_1_1?ie=UTF8&qid=1544623520&sr=8-1&keywords=prefab+sprout+from+langley+park

Information:

“From Langley Park to Memphis is the third studio album by English pop band Prefab Sprout. It was released by Kitchenware Recordson 14 March 1988.[2] It peaked at number 5 on the UK Albums Chart, the highest position for any studio album released by the band.[3]The album featured guest appearances from Stevie Wonder and Pete Townshend.[1] Five singles were released to promote the album: in order of release, "Cars and Girls", "The King of Rock 'n' Roll", "Hey Manhattan!", "Nightingales" and "The Golden Calf".[4] "I Remember That" was later released as a single in 1993 to promote the greatest hits album A Life of Surprises: The Best of Prefab Sprout.[4]”- Wikipedia

Review:                                                                                   

“As suggested by the title, From Langley Park to Memphis is Prefab Sprout's spiritual journey into the heart of American culture; obsessed with rock 'n' roll ("The King of Rock 'n' Roll") and Bruce Springsteen ("Cars and Girls"), fascinated with gospel music ("Venus of the Soup Kitchen") and locked in a love/hate relationship with New York City ("Hey! Manhattan"), Paddy McAloon turns an iconoclastic eye to the other side of the Atlantic in order to make some sense of it all. An airy, lounge-pop feel permeates the record, which also sports cameos from the likes of Stevie Wonder and Pete Townshend. Still, while ambitious in both concept and execution, From Langley Park to Memphis pales in comparison to its masterful predecessor Two Wheels Good -- a shortcoming acknowledged by Prefab Sprout themselves with the title of their next album, Jordan: The Comeback” – AllMusic

Standout Tracks: Cars and Girls/Hey Manhattan!/The Golden Call

The Ultimate Cut: The King of Rock ‘n’ Roll

Jordan: The Comeback

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Release Date: 7th September, 1990

Label: Kitchenware

Producer: Thomas Dolby

Buy: https://www.amazon.co.uk/Sony-PS4-Dual-Shock-Negro/dp/B000025THW/ref=sr_1_1?ie=UTF8&qid=1544623625&sr=8-1&keywords=prefab+sprout+jordan

Information:

“Jordan: The Comeback is the fifth studio album by English pop band Prefab Sprout. It was released by Kitchenware Records on 7 September 1990. It peaked at No. 7 on the UK Albums Chart.[8] "Looking for Atlantis" and "We Let the Stars Go" were released as singles, peaking at No. 51 and No. 50, respectively, on the UK Singles Chart.[8] Additionally, Jordan: The EP peaked at No. 35 on the UK Singles Chart[8]”- Wikipedia  

Review:                                                                                   

“In fact Jordan... consolidates the band’s newfound commercial clout with McAloon’s tendency to fit at least three songs into every one. Confirmed as a songwriter of considerable genius, he now explored genres aplenty: "One Of The Broken" (sung from the vantage point of God – never let it be said that Paddy lacked ambition) is a country song while "Carnival 2000" toys with samba. Dolby returned to the desk, supplying the synth and string, reverb-drenched fairy dust that McAloon’s songs of religion, loss and love demanded.

At times it comes uncomfortably close to cloying - especially on "We Let The Stars Go" or "All The World Loves Lovers" – or too clever for its own good ("Michael" – subject: Lucifer longs to return to paradise) yet is always rescued by the heart-tugging meodies or scintillating arrangements that never hang around long enough for boredom or familiarity to set in. The 'Jesse James' numbers (equating the Western outlaw to a reclusive Elvis, holed up in Vegas) are especially fine with their recurring themes.

Prefab Sprout longed to make pop music, but were always far too intelligent and inventive to do anything so straightforward. Like George Gershwin transported into Brian Wilson’s sandbox, Jordan... is equal parts passionate, philosophical and preposterous. Nothing else sounds like it” – BBC

Standout Tracks: Wild Horses/We Let the Stars Go/The Wedding March

The Ultimate Cut: Looking for Atlantis

I Trawl the Megahertz (Paddy McAloon Solo)

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Release Date: 27th May, 2003 

Label: Liberty Records

Producers: Paddy McAloon/Calum Malcolm

Buy: https://www.amazon.co.uk/Trawl-Megahertz-Remastered-Prefab-Sprout/dp/B07J35TBSP/ref=sr_1_1?ie=UTF8&qid=1544625660&sr=8-1&keywords=I+trawl+the+megahertz

Information:

“The largely instrumental album marks a notable stylistic change from previous Prefab Sprout work, featuring classical passages and orchestration reminiscent of Claude Debussy and Maurice Ravel, McAloon's two favourite composers. Writing much of the music on his computer, McAloon was given help by co-producer Calum Malcolm and composer David McGuinness in translating his original versions into the final recordings, with live orchestration provided by Mr McFall's Chamber. McAloon's radio-sourced material was then integrated with the songs, with spoken word vocals from Yvonne Connors on the title track, TV and radio dialogue samples on "I'm 49" and McAloon's own singing on "Sleeping Rough"

In 1999, Paddy McAloon, front man of British pop band Prefab Sprout, suffered detachment from both retinas in his eyes in quick succession, possibly due to congenital factors, which needed extensive surgery and left him nearly blind for some time.[6] As such, he was left housebound,[7] and rendered unable to write songs in his usual fashion, namely "hunched over a keyboard," and he found it particularly frustrating as he found himself subject "to itchy, unpleasant withdrawal symptoms if [he] cannot work."[8] As a result of this, and being unable to read, McAloon passed the time by listening to, and recording, various television and radio programs, especially chat shows, phone-in radio shows, citizens band conversations and "military encryptions – you name it, I was eavesdropping on it."[8] Much of his listening was to late night radio shows.[9] One journalist pointed out his listening to particularly short wave radio transmissions.[10]

McAloon found solace in the various radio shows and documentaries he listened to, and inspired by what he heard, used them as the source for a new solo album, I Trawl the Megahertz. He began taping the programs he listened to ("chat shows and things like that, people phoning in with their complaints to various DJs."[11]) To his own admission, he found 90% of what he recorded "boring," but he began to "mentally edit" some of the things he heard: "Odd words from documentaries would cross-pollinate with melancholy confidences aired on late night phone-ins; phrases that originated in different time zones on different frequencies would team up to make new and oddly affecting sentences. And I would change details to protect the innocent (or guilty), to streamline the story that I could hear emerging, and to make it all more...musical, I suppose"[8]  - Wikipedia

Review:                                                                                   

“The most significant song is the opener; 22 minutes in length, it's nearly elegiac in it its mournful tones played out by a swaying string arrangement and a weeping trumpet. Throughout its duration, Yvonne Connors speaks matter-of-factly -- yet dramatically enough to be poignant -- as she rifles through fragments of her memory, the most disarming of which reads like this: "I said, 'Your daddy loves you very much; he just doesn't want to live with us anymore.'" Of the eight remaining songs, McAloon's voice is present on just one, which doesn't come along until near the end. This song, the particularly autumnal "Sleeping Rough," is almost as emblematic of the album as the opener, expressing a somewhat sorrowful but content coming to grips with the passage of time ("I'll grow a long and silver beard and let it reach my knees"). The album was conceived during and in the wake of McAloon's bout with an illness that temporarily took away his eyesight, but it's plain to hear that his vision remains” – AllMusic 

Standout Tracks: Esprit de Corps/Fall from Grace/Sleeping Rough

The Ultimate Cut: I Trawl the Megahertz

Crimson/Red

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Release Date: 7th October, 2013   

Labels: Icebreaker/Kitchenware

Producers: Paddy McAloon/Calum Malcolm

Buy: https://www.amazon.co.uk/Crimson-Red-Prefab-Sprout/dp/B00FJX6SJ0/ref=sr_1_1?ie=UTF8&qid=1544624138&sr=8-1&keywords=crimson+red+prefab

Information:

“Crimson/Red is the tenth studio album by the English pop group Prefab Sprout. It was released in the United Kingdom by Icebreaker Records/Kitchenware Records on 7 October 2013.[1] The album title is a reference to artist Mark Rothko[2]” - Wikipedia

Review:                                                                                   

“The subjects, too, are rich and strange. The Best Jewel Thief In The World is a creation only McAloon could summon, a professional cracksman at the top of his game, scorning the little folk ("what do any of those assholes know?”). There’s the "urbane” Mephistopheles of Devil Came A Calling who offers Paddy – OK, “Patrick” – “a mansion on Fellatio Drive” before returning, after 50 years of gravy, to claim his due. Bob Dylan and Jimmy Webb, or representations thereof, pop by, as if lending moral support to the songwriter at bay.

Music itself is now McAloon’s hot topic, a holdover from Let’s Change The World With Music, the house-informed album McAloon made in 1993 but only relinquished for release in 2009. And though music about music can smack tediously of self-justification, the payoff here is Billy, a delirious fable wherein music’s intercessionary magic is embodied by a discarded trumpet, stumbled across in the snow.

In the ’80s, McAloon might have scorned such a sentimental metaphor, but he’s not that smart aleck any more, not with life’s solaces now at such a premium. The gifted kid’s still gifted. He just grew up, is all” – Mojo

Standout Tracks: The Best Jewel Thief in the World/Devil Came a Calling/The Old Magician  

The Ultimate Cut: Billy

FEATURE: Goodbye Maida Vale Studios: Are We Doing Enough to Save Our Iconic Music Spaces?

FEATURE:

 

 

Goodbye Maida Vale Studios

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IN THIS PHOTO: The Big Moon performing live at Radio 1's Future Festival live recording at Maida Vale Studios in 2017/PHOTO CREDIT: Merrick Winter  

Are We Doing Enough to Save Our Iconic Music Spaces?

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I am lucky enough to be one of the last members of the public...

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IN THIS PHOTO: The exterior of Maida Vale Studios on Delaware Road/PHOTO CREDIT: David Dixon

who will get to go into Maida Vale Studios before it closes its doors. The iconic venue is going to move to East London – more accurately, the BBC will host sessions and move operations to a new venue over the other side of London. The legendary and much-loved space has played host to countless artists and incredible moments. Modern artists have been lucky enough to play there and, across the years, Maida Vale has hosted some of the biggest musicians ever. One approaches Maida Vale Studios in West London and, from the outside, it looks rather average. As you walk along Delaware Road, one sees a tin roof and it looks like a farm building. Walking further and there are a series of doors/entrances and then, a bit further still, and you have the main entrance. I have never been in the studios but have seen many photos and the impression one gets from seeing them is immediate. The sheer gravity, size and glory of the studios’ wonder is breathtaking and wondrous. I have heard sessions there throughout the year and, unlike a smaller BBC studios, you can get a healthy crowd in there and pretty much accommodate any musician. It is a dream for artists because they get to be in this iconic space and it feels like they are in a large venue. Given the scale and size of the studios, one might feel there is a lack of grace and intimacy.

Maida Vale Studios perfectly blends the homely and intimate with something more stirring and epic. The BBC has had to make cuts and accommodations through the years but many were not ready to say goodbye to Maida Vale Studios. Back in June, the news was announced that Maida Vale Studios would shut its doors and facilities would move to East London. Here is how The Guardian documented the news:

“The BBC plans to close its Maida Vale studios after 84 years and move its live music base to Stratford in east London.

The world-famous studios have hosted thousands of performances ranging from the Beatles to Beyoncé to Girls Aloud, in addition to hosting the BBC Symphony Orchestra.

The studios were originally constructed in 1909 as a short-lived rollerskating venue. The BBC took over the building in the 1930s and refurbished it to serve as studios, making it one of the broadcaster’s oldest buildings.

However, the distinctive and unusual building is in a residential area and contains asbestos, increasing the cost of refurbishment.

“I understand how much our musical heritage at Maida Vale means to us, to artists and to audiences,” the BBC director general, Tony Hall, said in a note to staff. “We haven’t taken this decision lightly. But we’re determined to ensure that live music remains at the heart of the BBC and moving to this new development gives us the opportunity to do just that”...

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IN THIS PHOTO: Beyoncé (who is one of the many artists who has performed at Maida Vale Studios)/PHOTO CREDIT: Tyler Mitchell for Vogue

Maida Vale was the site of Bing Crosby’s last recording session and has hosted tens of thousands live music events for BBC radio stations, ranging from John Peel sessions to Radio 1’s Live Lounge recordings. It was also the home of the experimental BBC Radiophonic Workshop, where Delia Derbyshire recorded the Doctor Who theme tune.

The BBC hopes to relocate most of Maida Vale’s functions to a new complex in the Stratford Waterfront development in the Olympic Park by 2023. The site will contain recording and rehearsal studios, providing a purpose-built base for the BBC Symphony Orchestra and Chorus and the BBC Singers, as well as being used regularly by the BBC Concert Orchestra.

The broadcaster has pledged to run music sessions in east London schools as well as making digital music resources available to schools everywhere. The BBC will also partner with local education groups on other music projects”.

Musicians, as NME show, were quick to respond to the news:

“Several high profile musicians have now tweeted using the #BBCSaveMaidaVale hashtag. Radiohead producer Nigel Godrich wrote: “This is absolutely insane…!! wrong… misguided… Call it what you will – the wrong move… don’t destroy this incredibly important part of our cultural heritage – every bit as important as Abbey Road studios…. stop!!!!”
Foals’ Yannis Philippakis added: “So many memories at Maida Vale, so many amazing sessions over the years. DOn’t confine it to history. The BBC should reconsider.” His bandmate Jimmy Smith said: “For god’s sake BBC, not this one, don’t knock it down. We’ve had so many good times in there, nowhere like it on earth and you are gonna obliterate it!! Every band should get to smell the history in that place.”

Portishead and Beak>’s Geoff Barrow has been asking more musicians, DJs and fans to “tell the BBC they are wrong” using the hashtag. He also asked: “Why are the BBC hell bent on destroying the buildings that are so important to our cultural heritage?”

 

Although I do not have an association with BBC’s Maida Vale Studios; I will be stepping into this legendary space this week and it will be quite sad. The occasion will be happy but, when things are done, one has to realise that it will not happen again – before long, something else will be in its place. I can understand concerns around safety and refurbishment. No matter how much money it takes, there would be plenty willing to subsidise and fund the improvements. It is not like the entire building is crumbling and it is impossible to save it: we are talking about making some smaller changes and repairs/renovations that could bring it up to scratch. Think about the artists who have played through the years and how many have seen their careers hit new peaks because of Maida Vale Studios. It is situated in a very nice part of London. It is only a few minutes’ walk from Warwick Avenue underground and surrounded by rather up-market properties. There is no complaint around noise pollution and, whilst it can get busy around there at times, it is not the case people are stumbling from the building in the early hours and shouting. The civil and professional manner in which operations happen means the closure of Maida Vale Studios is extra-sad. Money and a little effort seems to be the only reason why it is shutting and it makes me wonder why the towel has been tossed in so quick.

Musicians and music lovers alike have argued and protested at the closure. The sheer outage and upset that has been seen on social media over the past six months tells you all you need to know. I am sure the new space/location will be okay but that is not the point. Who knows what will become of the space now? Maybe there will be flats or a posh shop or something. It is another case of something long-serving and much-respected being sacrificed to make way for modern consumers and residents. One will walk down Delaware Road and see something new and unfamiliar in the place of Maida Vale Studios. I shudder to think what is taking the place of Maida Vale’s iconic studios but I suspect it will be some sort of residential building. You can only imagine how expensive that will cost and it makes me wonder whether the millions that will be invested into that project is less costly than what it would take to improve Maida Vale Studios?! How could one rationalise moving and closing this years-lasting and hugely popular venue and replacing it with anything else?! Not only will musicians suffer and we will lose a part of British music’s rich fabric but the area will become poorer. I am sure many who live nearby would rather keep Maida Vale Studios and see it carry on for decades than have flats or shops in its place – which will make the area more crowded and who knows what it will do to the balance there?

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 PHOTO CREDIT: @d_mccullough/Unsplash

You never know if the new development will be a boon or a big gamble. Maida Vale Studios has served the local and wider community with dignity and passion since the 1940s. One of the saddest reasons behind the closure is betraying the artists and D.J.s who have relied on it and made it such an iconic place. The Peel Sessions became reliant on Maida Vale Studios and, for one, I feel angry the late John Peel’s legacy and incredible work is almost going to be tarnished because of the move:

“From 1967 to 2004, the John Peel Sessions were recorded in studio MV4. At first a number of other venues around London were also used, such as the Playhouse Theatre in Charing Cross, but as these ceased to be used by the BBC, the sessions increasingly centred on Maida Vale 4. Music sessions were once a mainstay of BBC Radio programming as there were strict limits on the amount of commercially recorded music that could be aired, known as needle-time restrictions, so the BBC regularly booked musicians to record music exclusively for broadcast. In the early 1960s, when the BBC began to give some limited coverage of pop groups such as The Beatles, it was found that the sessions allowed up-and-coming bands to gain exposure, and for musicians and groups to try out new material, play covers they would not include on their albums, and experiment with different sounds and guest musicians...

With the introduction of Radio 1 in 1967, programmes such as Top Gear embraced this concept, with sessions from such stars-in-waiting as David Bowie, Led Zeppelin and Jimi Hendrix. And when one of Top Gear's presenters, John Peel, gained his own programme, commissioned specially recorded sessions had a new outlet. Most of the artists were relatively unknown even to Peel's listeners: he and his producer would often invite bands on the strength of a rough demo tape or gig to hear what they could do, and for many of the bands it was their first experience of a professional recording studio, not to mention a much-needed boost to their finances…

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IN THIS PHOTO: The legendary John Peel (who often based his Peel Sessions out of Maida Vale Studios)/PHOTO CREDIT: Getty Images

The format became standardised as a single session in the studio with a staff producer and engineer (or more latterly a producer-engineer and assistant), during which the artists would record four songs, but there were also some sessions which were either live to air, or pre-recorded as live with an audience. Other Radio 1 programmes and DJs adopted a similar system of Maida Vale sessions, such as Janice Long, Andy Kershaw, and The Evening Session, whose current host Zane Lowe has nicknamed the studio 'Maida Vegas'; as well as the more direct inheritors of the Peel Sessions tradition Huw Stevens, Rob da Bank and Mike Davies”.

Who knows what modern music would be and sound like were it not for those Peel Sessions?! The late John Peel helped transform music and change it for the better when he broadcast from there. It might sound like I am misty-eyed and looking at things through a purely musical (and non-pragmatic) lens but I do wonder whether a lot of effort and thought was put into the closure decision.

One needs to balance all the pros – the fact it has been there for decades and is a crucial part of the musical landscape – against the negatives and drawbacks – the cost of repair and improvements so that it can continue for many more decades. The former is the human cost and benefit whilst the latter is purely financial. It is not a case of staff rebelling and refusing to work; it is not the case residents are complaining and forcing the BBC to move elsewhere. Why did the BBC not have a public fundraising campaign so that extra money could be found?! Why did they not do everything possible to save it?! I think there has been this wasted opportunity for preservation that makes the whole situation really tragic. We do get into this habit of submitting and, rather than do anything to retain the status quo, look at other options that are more modern and cost-effective. So many prefer the Maida Vale Studios – as opposed Broadcasting House and other BBC facilities – because it has that warmth and is overlooked by a rather calm, picturesque and stunning part of London (free from endless traffic and chaos. One could have easily seen radio shows move there and it would have provided a great house for someone like BBC Radio 6 Music or BBC Radio 2. That will never happen and I do wonder whether Maida Vale Studios’ death needs to be a wakeup call for those who make decisions.

The anger and sadness expressed (regarding the closure) demonstrates how important places like Maida Vale Studios are. You cannot simply see a small/medium-sized problem and decide that, because it will be costly to fix it, then that should be it. Considering the likes of The Beatles have played there; one could imagine Maida Vale Studios being declared a national treasure. Put a blue plaque there and get English Heritage invoked! It may sound extreme but you wouldn’t plough through parks and sites that have been deemed culturally significant or historic. There would be protest and the plans would be stopped. Maida Vale Studios has this huge cultural background and legacy that is going to be bulldozed and purged. We owe it to the people, past and present, who have made it what it is – so many will miss it and music will not quite be the same. Look around the country and how many epic and iconic venues are left?! Smaller venues are closing all the time and it seems there is very little classic and old remaining. We are always looking for the new, shiny and elegant. Maida Vale Studios is brilliant and bright but it is not the soulless and ultra-modern sort of space that corporations like the BBC wants.

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 IN THIS PHOTO: MV3 at Maida Vale Studios/PHOTO CREDIT: Getty Images

I am not blaming them entirely but it seems like the closure of Maida Vale Studios could have been avoided. There is an all-day Christmas party being held there this Friday (starting at around 7 A.M. I believe) and it will mark the changes happening at BBC Radio 6 Music next year. Whilst there will be celebration and much festivity in the air; there will be that sadness as everyone leaves Maida Vale Studios...uncomfortable in the knowledge that we will never see anything like that happen again. That realisation and heartache might be good for the bottom line and the purse but can you say the masses who adore Maida Vale Studios are better off?! There are still iconic venues and spaces in the U.K. that are safe and I dearly hope they are not subjected to closure threats and caution around financial viability. It would have been costly to bring the studios to code but many would have been happy to briefly relocate to allow the work done. Yes, it would have created a bit of noise whilst workmen were there but given the fact Maida Vale Studios will be replaced and there will be the same sort of upheaval very soon; can one say the trade-off has been a good one?! There is very little that can be done now but I feel, the more and more people come out and share their memories of Maida Vale Studios, the more misguided and foolish the decision is. Let us hope, for all the other iconic venues and spaces in Britain, they do not have to suffer the same fate...

AS Maida Vale Studios!

INTERVIEW: Pale Green Things

INTERVIEW:

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Pale Green Things

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I have been chatting with Pale Green Things...

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about the new single, Fairy Lights in Albert Square, and what its tale is. He (Jack) tells me about upcoming plans and the importance of music in his life; which artists and records are inspiring him and what advice approaching artists should take to heart.

I ask whether there is any Christmas present he wants and has not asked for; if he gets time to unwind away from music and what the scene is like in Manchester right now – he selects an awesome song to end the interview with.

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

Hi. I’m good, thanks. It’s been busy with releasing Fairy Lights in Albert Square on Friday.

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

My name’s Jack, but I go by the name ‘Pale Green Things’. I play Alt-Indie with a slight Folk influence. I’ve been recording music since I was a kid so I write and play everything myself.

Fairy Lights in Albert Square is your latest track. Is there a story behind it?

Like a lot of places, we get the Christmas markets taking over the city centre in December, here in Manchester. The song is about feeling low, whilst being in the centre of the forced Christmas-ness. In winter, you get the weird feeling when it’s dark, cold and being surrounded by all the fairytale-style stalls and lights; I wanted the song to be dark and ambient to capture that.

How did Pale Green Things start? Is there a reason behind the moniker?

The reason is to copy my heroes and influences; The Mountain Goats, Bright Eyes; Iron and Wine, The Eels. Pale Green Things is a song by The Mountain Goats. I love the song and I just thought it was a good name that people could create their own imagery for.

Is there going to be more material next year?

Yep. Going to be a busy year coming up. I have an E.P. out early next year, plus I’m always releasing fan club-only E.P.s.

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Are there particular artists that inspired you to get into music?

The first band I got obsessed by when I was a kid was the Manic Street Preachers. The Holy Bible is still one of my all-time favourite albums. After that, it was Belle and Sebastian, Conor Oberst; The Mountain Goats and The National. The list could go on but those are the ones that really influenced my writing.

What is the scene like in Manchester like right now?

Really good, actually. There’s loads of great venues here of all sizes. It feels like more bands are starting to get noticed here also, but Manchester will always have a bit of an underground feel to it which I love!

Do you already have plans for 2019?

I’ve got the E.P. to release and an album to work on. I’ll create more plans to play live once the E.P. is ready to go. I’m looking forward to playing the new songs live!

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

I’ve had lots but, recently, it was pretty cool when Francis from Teenage Fan Club turned up to the studio to play piano on a track from my old E.P. I love playing my Alt-Indie songs live as that’s where my heart is musically, but nothing quite beats when you first start gigging as a teenager and just go and tear the place apart. Haha!

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

Way too hard! But, top-three right at this moment I’ll say…

The Mountain Goats – Tallahassee; Belle and Sebastian - If You’re Feeling Sinister and Conor Oberst and The Mystic Valley Band - One of My Kind. I’m always searching for music that paints a picture of life as I see and feel it and those albums capture something.

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

Haha. The only thing I’ve asked for is a new capo which is a bit depressing. It always feels weird asking for things when you just wanna record and play music!

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

Can’t do it. Haha. It’s Conor Oberst or John Darnielle (The Mountain Goats). So, I guess my rider would be a game of Connect 4 and the winner gets to headline the show - and I can chill back stage with the other.

What advice would you give to new artists coming through?

Just make the music you wanna make because, at the end, that’s what you’re left with.

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

I need to sort out my live shows for 2019 but there will be plenty of U.K. shows.

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Are there any new artists you recommend we check out?

There’s a guy called John Dahli from the North West that’s making some awesome music. Defo recommend his new E.P., Perfect Heart.

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

Nope. Not really! I work as a guitar teacher, and then play music the rest of the time. I live near Old Trafford so I get to the football when I can. When I need a break, I watch an episode of People Just Do Nothing. I am loving that show at the minute.

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).

One of My Kind - Conor Oberst and the Mystic Valley Band

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Follow Pale Green Things

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FEATURE: Both Sides Now: The Split Cassette: 1983 (The Year of My Birth)/1989 (Personal Musical Revelations)

FEATURE:

 

 

Both Sides Now

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IMAGE CREDIT: Katyau  

The Split Cassette: 1983 (The Year of My Birth)/1989 (Personal Musical Revelations)

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I might turn this into a regular feature...

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but I have been thinking about pivotal musical years in my life. In the first (if only) part of the feature; I am concentrating on the popular albums and sounds from 1983 and 1989. I was born in 1983 so am compelled to explore a year when I arrived into the world – and what was popular as I was taking my first breaths and motions. The other, 1989, is very special. It is a year when music started to sink in and stay in the mind. Albums, songs and artists were filling my ears and it was an exciting and revelatory time in my life. I am compelled by 1989 because of the sheer range of music and the fact mainstream Pop and the rise of Hip-Hop were nestling aside one another. Like a split cassette; here are two different sides with their own flavour and tone. I have looked at 1983 and 1989 and what was happening then; the biggest ten albums and the definitive record; which song was at number-one at the start and end of each year – I end with a playlist compiling the best tracks of each year. Maybe these years in music will resonate and bring back memories but, for me personally, 1983 and 1989 are vitally important. Sit back, relax and enjoy a couple of music years that...

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PACKED a hugely impressive punch.

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

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A-SIDE: 1983

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This was the year of my birth and, in the first half of the 1980s, many sort of write things off. Most of the celebrated and notable albums from the 1980s arrived later in the decade and, in general, there is a lot of snobbish behaviour when looking at a wonderful decade. There was some cheese and bad years that decade (1986 has been highlighted as a low point) but 1983 is important for so many reasons. I think it is important to look at the year you were born and the music that was coming out at the time. The things that stick out about 1983 is that move away from the Hard-Rock and Classic-Rock brilliance of the 1970s – when the likes of Led Zeppelin were ruling – and a new era. Pop was a more dominant force in the early years of the 1980s and, with Michael Jackson’s Thriller arriving in 1982; it helped spark something that would change the scene. I am especially fond of the album and, whilst the hype it was still receiving in 1983 is not in my memory; I know the record was very popular and still being drooled over. Alongside Michael Jackson’s rise and genius was another Pop icon – one making her first steps. Madonna’s debut album, Madonna, was released in 1983 and, if that is not reason enough to mark a year then I do not know what is!

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 IN THIS PHOTO: Madonna in 1983

I think her debut is very underrated and, when you compare it to the other Pop albums of 1983, it stands above them and provides real nuance. Tracks such as Borderline and Holiday are stunning singles but, to be fair, there was more than that to get the critics interested. It is a fantastic record packed with personality and life and was the start of a remarkable career. Culture Club’s Colour by Numbers was released in 1983 and is seen as one of the year’s very best. I love that album but especially love Karma Chameleon. If you wanted proof that Pop was in spectacular health and flexing its muscles then you only need one spin of that track! I know for a fact Spandau Ballet’s True was top of the British charts on the day I was born (9th May) and there were these new type of musicians, New Romantics, that were providing something fresh. It may seem a bit lame compared with the Punk of the 1970s and Grunge of the 1990s but many modern artists have been inspired by the New Romantic movement. Legends like David Bowie and New Order were producing some of their finest work in 1983. It was an eclectic, busy and memorable year that shows the 1980s was a fantastic decade.

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Popular Trend: Classic music C.D. had become popular among listeners.

Musicians Born in 1983: Carrie Underwood, Future; Cheryl and Amy Winehouse

Musicians Who Died in 1983: Dennis Wilson and Karen Carpenter  

The First Number-One Single of 1983 (U.K.): Phil Collins – You Can’t Hurry Love

The Last Number-One Single of 1983 (U.K.): The Flying Pickets – Only You

The First Number-One Album of 1983 (U.K.): Various Artists – Raiders of the Pop Charts

The Last Number-One Album of 1983 (U.K.): Various Artists – Now That’s What I Call Music!

Notable Groups Formed in 1983: Bon Jovi, The Cult; Del Amitri, The Farm, The Flaming Lips; The Housemartins, Inspiral Carpets; My Bloody Valentine, Red Hot Chili Peppers and The Waterboys

Notable Groups Disbanded in 1983: Altered Images, Gang of Four; Simon & Garfunkel, Sly and the Family Stone and Yazoo

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Big Albums of 1983:

R.E.M. – Murmur

The Police – Synchronicity

Elvis Costello and the Attractions – Punch the Clock

Tom Waits – Swordfishtrombones

David Bowie – Let’s Dance

Madonna – Madonna

Talking Heads – Speaking in Tongues

U2 – War

Eurythmics – Touch

Paul Simon – Hearts and Bones

Big Country – The Crossing

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Biggest Album of 1983:

Culture Club – Colour by Numbers

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B-SIDE: 1989

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Whereas 1983 is pivotal because it was the year I was born; 1989 is where music started to really form in the mind and, as I was making my way through primary school, it was a very formative time. I associated 1989 with the sheer clash of styles and genres. Hip-Hop was born, let’s say, in 1986 and 1988 saw some huge albums from Public Enemy (It Takes a Nation of Millions to Hold Us Back) and N.W.A. (Straight Outta Compton). Even though there is only six years between 1983 and 1989, the way music changed is amazing! The New Romantic wave was pretty much dead but a harder-edged sound was taking hold. Iconic and big albums from the likes of Sonic Youth, Pixies and Metallica were sitting alongside the new pioneers of Hip-Hop. There was still a lot of great Pop music around and artists who had started their careers in 1983, such as Madonna (her first album as opposed single), were hitting their peak. For me, it remains a huge year because of the changes and what was being prepared for the 1990s. Whilst I have music memories earlier than 1989; this was the year when I was really starting to discover music and get to grips with everything. I was six (by May) and music was starting to become a part of my social life at school.

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 IN THIS PHOTO: De La Soul on Long Island in 1989/PHOTO CREDIT: Janette Beckman

The sheer weight and eclectic nature of music in 1989 was sensational and Hip-Hop, especially, was starting to take huge steps. I do not know what caused the big changed between the Pop and sounds of the early-1980s and the very different landscape of the late-1980s. Trends and movements came and went and, if anything, U.S. music was playing a bigger role than British sounds – that would change in the first half of the 1990s. I cannot state how incredible the music of 1989 is and, again anyone who thinks the 1980s was weak and a bit naff needs to do their homework and see what was being put out! I have used the word ‘cassette’ in the headline/title of this article and that ‘technology’ was really important. I can recall holding cassettes and, despite its flaws, you could not beat having something in your hand that was easily portable and could be shared with friends. It was a wonderful time and a very important year for me. I am excited to reveal all the stats and great albums from 1989 – showing how different music was then compared with 1983. There would be better years for music coming up (including 1991, 1994 and 1998) and, in terms of impact and influence, 1994 is higher up the rankings. I love 1989’s music because it accompanied me through my early school days and defined the vibe in the playground. From U.S. Alternative and Rock to the changing face of Pop music; a very wide-ranging and inspiring year. Have a look at what was happening in 1989...

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 IN THIS PHOTO: New Kids of the Block (circa 1989)/PHOTO CREDIT: Michel Linssen/Redferns

Popular Trend: To the kids of 1989, the summer belonged to New Kids on the Block - an exciting Pop sensational who were sweeping the charts in the U.S.

Musicians Born in 1989: Chris Brown, Taylor Swift; Bebe Rexha and Joe Jonas

Musicians Who Died in 1989: Irving Berlin  

The First Number-One Single of 1989 (U.K.): Kylie Minogue and Jason Donovan – Especially for You

The Last Number-One Single of 1989 (U.K.): Band Aid II – Do They Know It’s Christmas?

The First Number-One Album of 1989 (U.K.): Various Artists – Now That’s What I Call Music! 13

The Last Number-One Album of 1989 (U.K.): Phil Collins – ...But Seriously

Notable Groups Formed in 1989: 4 Non Blondes, Black Box; The Breeders, The Cranberries; Culture Beat, Mercury Rev; Neutral Milk Hotel, Ocean Colour Scene; Orbital, Pavement; Powderfinger, Slowdive, Suede and Teenage Fanclub

Notable Groups Disbanded in 1989: The Bangles, Lloyd Cole and the Commotions; The Jackson 5 and The Style Council

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Big Albums of 1989:

Pixies – Doolittle

The Cure – Disintegration

De La Soul – 3 Feet High and Rising

Madonna – Like a Prayer

Tom Petty – Full Moon Fever

New Order – Technique

Soul II Soul – Club Classics Vol. I

Janet Jackson – Janet Jackson’s Rhythm Nation 1814

Nirvana – Bleach

Neneh Cherry – Raw Like Sushi

Kate Bush – The Sensual World

Soundgarden – Louder Than Love

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Biggest Album of 1989:

Beastie Boys – Paul’s Boutique

FEATURE: Between the Sheets: The Best Music Books of 2018

FEATURE:

 

 

Between the Sheets

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PHOTO CREDIT: @heftiba/Unsplash 

The Best Music Books of 2018

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MANY people assume the most potent musical offerings...

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 PHOTO CREDIT: @thoughtcatalog/Unsplash

arrive from artists themselves. We focus a lot on albums and singles but, when we need to detach away from the Internet and find some calm, a great music-related book is essential. I am finding, as so many of us are slaves to the lure of social media and our phones; books are actually being read more and it provides that much-needed sense of relief. If you are a big music fan, you will be drawn to the wonders and sheer variety of a music-themed book. Whether it is a biography, an encyclopaedia or a great one-off – how can one resist the page-turning pleasures?! As it is Christmas, and you might still be looking for that great gift for the music lover in your life; here are some epic music books that are guaranteed to...

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PHOTO CREDIT: @fabspotato/Unsplash 

KEEP them quiet and engrossed for a very long time.

ALL IMAGES: Getty Images/Publishers

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Matt Everitt - The First Time: Stories & Songs from Music Icons

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Release Date: 5th November, 2018

Publisher: Laurence King Publishing

Type of Book: Interview series with a selection of musical greats, all conducted by Matt Everitt

Author: Matt Everitt

Pages: 336

Page Turn-ability: 4.8/5

Price: £13.93 (Amazon.co.uk)

Review:

“Just published is an absorbing new book which brings together some of the biggest names in music to talk about their First Time. Using transcripts of interviews conducted by him over a number of years for his BBC Radio 6 Music show, Matt Everitt's book, "The First Time: Stories & Songs from Music Icons", reveals things like the subject's first gig, first record, and such like.

With a diverse list of interviewees as David Gilmour, Alice Cooper, John Lydon, Charlie Watts, Rod Stewart, Paul Simon, Elton John, Lars Ulrich, Michael Stipe, Brian Wilson and Jarvis Cocker, there are some dramatically different responses, and some very interesting insights. Some of the subject's "firsts" are endearingly cheesy or embarrassing, yet others have rather cool experiences they relate. The reality for most people, of course, if they are honest, is that their first gig, record or whatever can tend to be a little difficult to reveal to others! In the introduction, Matt has the tables turned and is interviewed by Norman Cook (Fatboy Slim) who reveals his first gig was U2 in 1987, whereas Norman's was none other than The Wombles!

Each chapter starts with an introduction by Matt about his memories of meeting the subject, accompanied by newly created collage artwork and finishes with a Spotify link that will lead readers straight to the bespoke playlist of songs that are discussed in the interviews. The book compiles 40 interviews, and each reveal some great insights into the artist.

David Gilmour's interview takes a look at his earliest experiences of music - hearing, seeing and playing. He also touches on his early rehearsals with Pink Floyd, including the legendary "Have You Got It Yet?" that Syd was trying to get the rest of the band to learn... He reflects on Dark Side (coming out just five years after he joined the band) and life after the band. He also talks about his feelings about the late Richard Wright.

For anyone interested in music, and the influences that shaped the musicians and their sounds, the book is definitely worth checking out. As with all interviews, some subjects are more guarded than others, but nonetheless, their reticence or "political" answers can prove subtly revealing too” – Brain Damage

Buy: https://www.laurenceking.com/product/the-first-time/

Kate Bush – How to Be Invisible

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Release Date: 4th December, 2018

Publisher: Faber & Faber

Type of Book: A collecting of lyrics from the great Kate Bush

Author: Kate Bush, David Mitchell (foreword)

Pages: 223

Page Turn-ability: 5/5

Price: £8.30 (Amazon.co.uk)

Review:

“Essentially this is a book for fans, and fans of the Great Kate are as legion as we are loyal. The collection ends with Lake Tahoe, which includes one of my favourite images from her songs. An old dog, asleep on the floor, “his legs are frail now, but when he dreams – he runs”. I can never hear that line without welling up and, like all of the lyrics contained within Bush’s work, it loses none of its power by being separated from the melody. Maybe the Academy got it right with Dylan after all” – The Irish Times

Buy: https://www.waterstones.com/book/how-to-be-invisible/kate-bush/9780571350940

Led Zeppelin – Led Zeppelin

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Release Date: 9th October, 2018

Type of Book: Career retrospective and photo collection

Publisher: Reel Art Press

Author: Led Zeppelin

Pages: 400

Page Turn-ability: 4.7/5  

Price: £32.46 (Amazon.co.uk)

Review:

“A fantastic coffee table book of quite possibly the greatest rock band in history. There's little text to go with the hundreds of photos contained in this mighty tome, but that's what this book is, a photographic history and not another unauthorised biography. Layout wise, it's very similar to Jimmy Page's photo autobiography - a bit of text here & there explaining where & what each photo is, all laid out in chronological order. The book is bound in a cotton card cover, which feels very luxurious to the touch and appears hardwearing. The pages are of reasonably thick, high quality semi-gloss paper that has an equally luxuriant feel. In my opinion this book is aimed at those who not only want an attractive display piece but also want to see how the band looked in their glory days. In other words, it's a nostalgia trip for the over sixties or a reference book for the younger generation who want to visualise what all the fuss was about. Personally I love this type of book, as you can gaze over a few pages, go back a few days later and find something new. I would highly recommend this book, but only if you need to fill a gap in your image memory bank or want to be transported back to the hedonistic 60's and '70's. It also makes for a great display piece on your coffee table” – Dave Disley (Amazon.co.uk)  

Buy: https://www.amazon.co.uk/Led-Zeppelin/dp/1909526509

John Lennon, Yoko Ono – Imagine John Lennon

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Release Date: 9th October, 2018

Publisher: Thames and Hudson Ltd

Type of Book: A complete and authoritative inside look at the album, Imagine

Authors: John Lennon, Yoko Ono

Pages: 320

Page Turn-ability: 4.8/5

Price: £21.66 (Amazon.co.uk)

Review:

“This book is a complete inventory of the period during the making of Imagine in 1971. Not only does it cover all the processes of the making of the album, but everything to do with John and Yoko's world at the time. It's so exhaustive, and it's difficult to find fault really. The couple took a lot of stick at the time, and things have mellowed over the years. Fabulous pictures and information. My only complaint.. that we had to wait nearly 50 years for something as good as this to come out! Would please any John (and Yoko) fan!” – RM Jones (Amazon.co.uk)  

Buy: https://www.amazon.co.uk/Imagine-John-Yoko-Lennon/dp/0500021848

Philip Norman - Slowhand: The Life and Music of Eric Clapton

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Release Date: 9th October, 2018

Publisher: W&N

Type of Book: A biography of Eric Clapton

Author: Philip Norman

Pages: 448

Page Turn-ability: 4.2/5

Price: £17.50 (Amazon.co.uk)

Review:

“Ultimately one must trust the art, not the artist (Philip Larkin, Ted Hughes… voice your choice), and here Norman disappoints. His analysis of Clapton’s music is cursory and cliched (there is no discography to even mention those London Howlin’ Wolf sessions), and no analysis to justify Clapton’s inclusion in that bogus “topmost echelon – names that provoke instant, excited reaction in every country and culture”, a category for which, say, Bob Marley makes a better fit. Slowhand fails to drive one back to reassess either the highs or lows of Clapton’s career, be it his caustic brilliance with Mayall’s Bluesbreakers, the tedious live recordings with Cream, the patchy venture of Blind Faith, dull solo albums like 1989’s Journeyman or the engaging acoustic sessions of 1992’s Unplugged. That’s another book entirely” – The Guardian  

Buy: https://www.waterstones.com/book/slowhand/philip-norman/9781474606554

Joan Morgan – She Begat This: 20 Years of The Miseducation of Lauryn Hill

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Release Date: 23rd August, 2018

Publishers: Atria/37 INK

Type of Book: A twentieth anniversary celebration of Lauryn Hill’s seminal debut solo album

Author: Joan Morgan

Pages: 176

Page Turn-ability: 4.6/5

Price: £11.34 (Amazon.co.uk)

Review:

““Ex Factor” finally meant something to me when I had two relationships where we kept hurting each other because neither one of us wanted to be the first to say goodbye. “To Zion” was beautiful when I was childless black male, but after becoming a father the first time I loved what it pointed to about choices and sacrifices. “Tell Him” became my wake up song because I needed to conjure hope when joy didn’t come in the morning. I can go on and on about my love of Hill and how I came to love Miseducation. I will still buy tickets, because I want to be with other congregants reliving the moments when Hill’s music was salvific, even when the music don’t sound the same as I remember.

I also hope people will read She Begat This to learn another context for understanding the album and Hill. This book extended my belief that reducing Hill to crazy is a lie. We need better words, better analysis to understand this black woman who attempts to live life on her own terms, terms that we can’t understand and terms that are not fitting for consumer demands, but still her terms. She gave us a gift, but we don’t own her. We have to decide how we want to live with her terms without reducing another black woman to crazy” – Medium

Buy: https://www.amazon.co.uk/She-Begat-This-Miseducation-Lauryn/dp/1501195255/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr

Dan Hancox – Inner City Pressure: The Story of Grime

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Release Date: 17th May, 2018

Publisher: William Collins

Type of Book: The definitive story and history of Grime

Author: Dan Hancox

Pages: 352

Page Turn-ability: 4.8/5

Price: £18.95 (Amazon.co.uk)

Review:

“He can look back from the vantage point of 2018, where this most underdog of genres has, after a period of pop dilution, finally started racking up airtime and awards on its own terms: Skepta’s Mercury for Konnichiwa in 2016, a No 1 album for Stormzy’s Gang Signs & Prayer (2017), and an MBE for grime’s “godfather”, Wiley (born Richard Kylea Cowie), whose role as mentor, mogul and den mother could easily fill two books (his autobiography is out in paperback next month).

The journey to mainstream acceptance has been, not to put too fine a point on it, insane. It wasn’t just barriers such as Form 696, the Kafkaesque mechanism by which the Met made it impossible to stage live grime nights; Hancox dives deep into the riveting minutiae of how grime (realistic, dressed down) was frequently pitted against UK garage (aspirational, dressed up) and plots the arcs of individual players – such as Rinse FM’s Slimzee, who got an asbo and suffered a nervous breakdown when the pirate station was raided in 2004 (it is now legal).

Ironically, Britain actually had the new punk rock on its hands. But while not averse to giving the heritage treatment to 1977, its (often white and middle-class) cultural gatekeepers could not, or would not, recognise it as such. And the powers that be did everything to conspire against it. The notion of “inner city pressure” was certainly operational when junglist Goldie released Inner City Life in 1995, but successive governments presided over more than two decades of social cleansing, gentrification and the closure of youth centres and defunding of offending prevention programmes. It wasn’t long, Hancox argues persuasively, before the student demonstrations of November and December 2010 turned into the riots of 2011.

If all this sounds overly professorial, it isn’t: Hancox’s love for the music – for its socially unacceptable, alien sound, its hyper-local reference points, and its refusal to become Americanised rap – cuts through like a siren” – The Guardian

Buy: https://www.amazon.co.uk/Inner-City-Pressure-Story-Grime/dp/0008257132/ref=sr_1_1?ie=UTF8&qid=1544517410&sr=8-1&keywords=dan+hancox+inner+city+pressure

Michael Diamond, Adam Horovitz – Beastie Boys Book

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Release Date: 30th October, 2018

Publisher: Faber & Faber

Type of Book: An authoritative and complete history of Beastie Boys from its two surviving members

Authors: Michael Diamond, Adam Horovitz (Beastie Boys)

Pages: 592

Page Turn-ability: 5/5

Price: £22.40 (Amazon.co.uk)

Review:

“Diamond’s voice is lapidary, droll. Horovitz comes on like a borscht belt comedian, but beneath that he is urgent, incredulous, kind of vulnerable. There is an almost Caulfieldian sense of grief about the irretrievable past. Both are collectors — they kept the hydraulic penis for 30 years, after all. And this book is their attempt to uncover the details of their lost civilization — a pre-smartphone era where serendipity ruled — to today’s youth.

“Pre-cellphone/smartphone, kids had to call each other’s houses,” Diamond explains in a lengthy aside that goes on, wonderfully, to describe the ultimate agony: “When my mom picked up and started dialing before she realized I was already on the phone.”

Really, it’s a fascinating, generous book with portraits and details that float by in bursts of color. The fact that a Black Flag show served as a kind of Big Bang for New York’s punk scene is a revelation. Then there’s the unusual genesis of the lyric that opens their song “Paul Revere”: “Here’s a little story I got to tell.” I always considered this, in tone and syntax, to be the most explicitly Yiddish of their lyrics, and assumed that Horovitz, who delivers the line on the record, was the one who wrote it. But it turns out that he first heard it from Run of Run-DMC, of all people, while sitting on a stoop before a recording session. As Horovitz recalls that day, it was also one of the first moments the band felt they had arrived. “Just a couple years ago, me and Dave Scilken got busted for writing graffiti, so we ran and hid from the police in a stairwell leading to the basement, two doors down from where we are sitting now,” he remembers thinking as they waited for Run-DMC to show up. “And here we were, waiting to record a song with the greatest of all time” – The New York Times

Buy: https://www.waterstones.com/book/beastie-boys-book/michael-diamond/adam-horovitz/9780571308040

Dez Dickerson, Jim Walsh - Prince: Before the Rain

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Release Date: 1st November, 2018

Publisher: Minnesota Historical Society Press

Type of Book: A collection of revealing and intimate photos of the late Prince by photographer Allen Beaulieu

Authors: Dez Dickerson (Foreword), Jim Walsh (Introduction)

Pages: 224

Page Turn-ability: 4.7/5

Price: £20.22 (Amazon.co.uk)

Review:

“A picture paints a thousand words, so the saying goes. And Prince, a man of few words publicly at least, understood this better than any other artist of his generation. Some of his most iconic imagery comes from the formative period between success and superstardom, and those images were captured by photographer and friend Allen Beaulieu.

Allen’s book Prince, Before The Rain is a unique window into Prince’s world. Beautifully produced and lovingly curated. Before The Rain is a visual Aladdin’s cave. Packed with a mix of live and studio shots, many previously unseen, the intimacy of the images is palpable. No previous Prince book has revealed so much of Prince the man, before the mega stardom, before the rain.

The accompanying text includes contributions from Dez Dickerson, Lisa Coleman, Booby Z and Jim Walsh but it’s Allen’s stories that enthusiasts will find most insightful, giving background and context to the stunning images. Covering the period from 1979 to 1984 (with a few later pictures from 1986), Before The Rain illustrates Prince ’s transition from Doe-eyed disco soul boy, through Punk, New Wave and onto to a style all his own. This book bares witness to the birth of a true icon, loved by millions around the globe.

Published by Minnesota Historical Society Press (mnhspress.org) and available via Amazon worldwide, no Prince collection is complete without a copy of Prince, Before The Rain” – Stephanie B. (Amazon.co.uk)

Buy: https://www.amazon.co.uk/Prince-Before-Rain-Dez-Dickerson/dp/1681341212/ref=sr_1_1?ie=UTF8&qid=1544518282&sr=8-1&keywords=prince+before+the+rain

Evelyn McDonnell – Women Who Rock: Bessie to Beyoncé. Girl Groups to Riot Grrrl.

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Release Date: 6th December, 2018

Publisher: Black Dog & Leventhal

Type of Book: A stellar and unprecedented celebration of 104 musical artists; the most complete, up-to-date history of the evolution, influence and importance of women in music

Author: Evelyn McDonnell

Pages: 416

Page Turn-ability: 4.9/5

Price: £25.00 (Amazon.co.uk)

Review:

“This book is perfect: essays written by women, about influential women in the landscape of the music industry who all overcame some type of adversity to get their music heard, along with stunning artwork for each essay (also all by women). I confess I haven't finished the book yet, because there is so much information and music to digest! Each essay comes with a recommended playlist, and listening to these women as I read about their lives and their careers is a transformative way to read. Highly recommended to anyone who loves music and wants to diversify their listening habits” – Tamara..L..M.. (Amazon.co.uk)

Buy: https://www.amazon.co.uk/Women-Who-Rock-Bessie-Beyonce/dp/0316558877

INTERVIEW: Runrummer

INTERVIEW:

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Runrummer

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THE terrific Runrummer has been telling me about...

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her awesome new E.P., Soul Wrinkles, and its inspirations; whether she has a favourite cut from the collection and what comes next for her – she selects a few albums that are very important and explains the reasons why.

I ask what sort of music she grew up around and who she’d support on the road if she could; which approach musician we need to check out and what advice she would offer to artists coming through – Runrummer picks a great song to end things on.

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

Hey, Sam! My week is going very well thank you. Busy but good. Just played a headline show at the Amersham Arms and gearing up for a performance at Stockwell Studios with students from the University of Greenwich on 12th December. I’m also back in the studio working on new tunes and remixes - exciting times!

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

My real name name is Livi Morris. I’m twenty-four-years-old and I’m an emerging Alt-Pop singer, songwriter and producer. Currently based in East London, although I grew up in a town called Bromsgrove just on the outskirts of Birmingham. Prior to embarking on my first solo adventure as an independent artist, I cut my teeth writing lyrics for EDM heavyweights like Showtek and The Chainsmokers.

Soul Wrinkles is your new E.P. What sort of themes and stories inspired the music?

The music is all very personal to me. A lot of it confronts struggles I’ve had with sexuality, gender identity; mental-health and other juicy emotional stuff. Eyes, for example, tries to tap into the feeling of being trapped by your own gender. This is something I really struggled with when I was younger. The isolation you feel and the road you have to travel down in order to find acceptance within yourself vs. others expectations.

Do you have a favourite cut from the pack? Is there a personal highlighted?

Penny Drop definitely is my personal favourite at the moment. I just really love the feeling of it. It follows the story of two lovers who realise their relationship is over - but at different points and in their own separate ways - that ‘penny drop moment’ where suddenly everything makes sense and become more clear. The coffee shop narrative is also an interesting one.

Everyone has their own place of escapism and the coffee shop tries to be symbolic of that. A place to run away and find calm on a dark, rainy evening when you feel like all hope is lost. The concept I had in my mind was very much inspired by Edward Hopper’s 1942 painting Nighthawks.

What sort of music did you grow up around? How important were your parents’ tastes regarding your music?

I grew up in a very musical household. Neither my mum or dad could play an instrument but they were always blasting the good stuff - mainly '70s and '80s. The biggest inspiration from my dad has to be David Bowie. Whenever my mum was out, we would listen to all his Bowie records back-to-back then watch some cut-throat Tarantino movie like Kill Bill (also great music on those soundtracks). I’m really inspired by anything from the '70s and '80s and, in fact, my name ‘Runrummer’ actually comes from the famous Rum Runner nightclub which helped launch classic '80s bands like Duran Duran and Dexys Midnight Runners back in the day.

I grew up with my dad talking about that place like it was a shining beacon of light on the Brummie music scene; so the name Runrummer is sort of a nod to my dad and to Birmingham as a whole and particularly the music that influenced me growing up.

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You moved from Bromsgrove to London. How important was it to move to the capital? Has it opened up doors and opportunities?

London is definitely the best place to be if you’re an emerging artist in the U.K. The people I’ve met and the opportunities I’ve encountered since moving here have been quite incredible. For example, I recorded the E.P. at Cafe Music Studio which is the H.Q. of Jon Hopkins. I can tell you it’s quite surreal making a cup of tea with Jon in the kitchen, overhearing the sonic sounds emanating from his room and witnessing and development of Singularity (his latest studio album). London is also just a great place to be inspired. It’s so full of life and colour.

Two of the tracks on the E.P. I actually wrote while I was travelling on the Tube. And I also find one of the best ways to work on a new song is to listen to it on-repeat while travelling on the front seat at the top of a double-decker. An American recently told me that my music sounds very London, so the city must be rubbing off on me!

Do you already have plans for 2019?

2019 is full of exciting things indeed. I’ve just joined The Rattle which is an awesome collective of artists and start-ups working together in East London. I’ll be releasing new music, creating new videos; gigging every month and throwing myself thoroughly into the festival scene. I’m also on the lookout to collaborate as much as possible with other artists...so watch this space!

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

Getting flown out to the Netherlands to record with Showtek at their studio in Eindhoven has to be a highlight. This was back in 2012. I’d just turned eighteen, just got my braces off and just left school. I couldn’t believe my luck! It was the first time I felt like my music was worth something and that’s the best feeling in the world when you’re just starting out. Recognition and validation.

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

Music means the world. Happy or sad, it’s the soundtrack to your life and I love how it can help you feel like you’re not alone. Whenever I’ve been down and out, it’s music that’s helped to pull me through. It can act as a form of escapism but it can also show you ‘Hey, other people are going through sh*t too and you can get through it together’. I’d say that’s pretty important. Can you imagine a world without music? No way!

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

Demon Days – Gorillaz

This is the first C.D. I ever owned. I had it on-repeat on my Sony Walkman for a good twelve months. I used to turn on MTV and wait for the music video for Feel Good Inc. to come on. I was proper-obsessed. It was unlike anything else at the time and all their stuff has definitely had a strong influence on my music and writing. I actually wrote a new song called Urban Jungle recently with Damon Albarn in mind. Would love to work with him one day.

The Whole Story - Kate Bush

I know this is a compilation album, which might seem like a controversial choice, but this is the record my mum had on vinyl when I was growing up. Kate Bush has to be one of my biggest idols of all time. She definitely influenced the E.P. and probably every song I’ve ever written. I love listening to The Whole Story. Cloudbusting is my favourite. I’m waiting for someone to make a killer remix of that one. Maybe I should just make one myself…

Aladdin Sane - David Bowie

I was tempted to say The Rise and Fall of Ziggy Stardust... but I think Aladdin Sane is actually the Bowie album which has had the biggest and longest lasting impact on me. Lady Grinning Soul hits me hard and the whole album makes me feel things. Bowie is God.

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

A music studio…wishful thinking!

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

Christine and the Queens, hands down. Héloïse Letissier is an absolute master. Have you seen her recent shows? I tried to get tickets for Victoria Apollo but they all sold out. And I’ve just seen she’s been announced to headline All Points East but I’m gutted I’ll be in Northern Ireland that weekend. Her performances on stage are incredible and I’d like to get to know her as an actual human being. What better way to know someone than to go on tour with them?

For the rider - I’ve got coeliac disease but venues never ever have any gluten-free beer, so I’d like a decent supply of that please!

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What advice would you give to new artists coming through?

1. Don’t put yourself under any unnecessary pressure, especially when it comes to timescales. Yes, you have a goal and you’re champing at the bit but take your time. Only release stuff when it’s ready and make sure it’s the best it can be. You want your debut to be flawless.

2. Get a publisher - someone like Sentric who understands independent artists and tries to give you a fair deal in a language which doesn’t sound foreign. This also takes a lot of stress off you trying to get your head around the world of publishing. It can be a real headache act the start!

3. Be nice to people. Don’t stick your nose where it doesn’t belong and don’t try to talk about things you have no idea about. It will definitely come back to bite you.

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

We’ve got a very exciting gig planned for January but I’m afraid I can’t spill the beans about that one just yet. However, I can tell you we’ll be supporting our good friends Zkeletonz at the Victoria in Dalston on 22nd Feb. Plus, we’ve got a headline show in Worcester planned for March. New dates are being added all the time so follow me on the all my socials to stay in the loop (smiles).

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 IN THIS PHOTO: Merryn Jeann

Are there any new artists you recommend we check out?

Yes! Go check out Merryn Jeann! She’s definitely not new but still relatively unknown and deserves way more recognition I think her voice is incredible and her lyrics are flawless. The song she did with Møme called Aloha was a huge inspiration behind the making of my debut single Good for Nothing. I can’t wait to hear more from her as she grows. Definitely one to keep an eye on for sure!

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

Haha. Well, music is my way of chilling! I currently work full-time as a Transport Planner at TfL. It pays the bills and I get to ride on the Tube for free. Cheeky.

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).

Solange - Losing You. What a banger!

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