FEATURE: I Want to Hold Your Hand: The Start of Beatlemania in the U.S.A. Fifty-Five Years of The Beatles’ Milestone Chart Entry

FEATURE:

 

 

I Want to Hold Your Hand: The Start of Beatlemania in the U.S.A.

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IMAGE CREDIT: Getty Images 

Fifty-Five Years of The Beatles’ Milestone Chart Entry

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THERE will be people out there who will debate...

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IN THIS PHOTO: Paul McCartney is mobbed by fans in Teddington on 11th July, 1964/PHOTO CREDIT: Sunday People/Mirrorpix/Mirrorpix via Getty Images  

when ‘Beatlemania’ truly began and sparked in the U.S. In this country, we can chart it to late-1963 but it might have begun a little before then. The boys has already released their debut album, Please Please Me, in March 1963 and they also released With the Beatles in November of the same year. With two albums down, fans here could not get enough and it was clear this exciting new band were taking over the world! Unlike their debut album, there was a lot more original work from John Lennon and Paul McCartney. The debut had some cracking cuts but With the Beatles offered some of the best work from the band so far – including All My Loving. It was a busy and exciting time for the band and, in fact, second album was released in Canada with the augmented title Beatlemania! With the Beatles. That was on 25th November, 1963 and the magic of The Beatles was starting to spread. The boys had been releasing music for a little bit until that point but they were still fresh and new. The fact their music seemed to offer something exciting and embracing meant this fever and desire would heighten and explode. A lot of the music of the time (1963-1964) was quite safe and soft whereas The Beatles provided this rather intense and catchy Pop that was exhilarating. These four lads were breaking hearts and it would not be long until they stormed the U.S.

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 IMAGE CREDIT: Spotty

With the Beatles went on to sell by the case-load and people could not get enough of them! An important song that brought them to the attention of the American market was I Want to Hold Your Hand. The single entered the U.S. chart at number-forty-five just ten days after its release! It was the U.S. chart debut and the song became the fastest-breaking and fastest-selling in the history of Capitol Records! Many might say the fact the song started so low in the charts means one cannot truly call that the start of Beatlemania but it was a record-breaking disc and one that spent seven weeks at the top of the charts. The boys sort of went from promising and talked-about to these new icons. Many say their subsequent T.V. appearances in the U.S. – including appearing on The Ed Sullivan Show in February 1964 – was more important and meant they reached a larger audience. The Sullivan shows were vital but it was that chart entry and the fact I Want to Hold Your Hand rocketed that fuelled the passion. By The Beatles’ standard, it is not the most complex or audacious track. They would soon go to produce these complex and studio-stretching masterpieces but this was early days and they were trading in the radio-friendly, tight Pop songs that had an innocent message but were far more exciting than anything around.

It would be weird to see a band explode in America based on a song revolving around hand-holding a simple request for connection. The Beatles were more than simple Pop songs and catchy choruses. The boys’ electric performances and harmonies thrilled; they were handsome and clean-cut but had these exotic accents and they had a streak of cheekiness. The song was like nothing floating around the U.S. charts and it was a revelation to young ears. People were responding to this rare and wondrous force and it would not be long until The Beatles’ lives were transformed. The band had already scored hits in the U.K. and were taken to heart at an early stage. Breaking America, as is now and as was then, is the biggest thing a band can do but many have minor success and that is about it. Maybe they will get some big gigs but, in the case of The Beatles, it was like a political and social revolution. The fact they were getting T.V. requests in the country helped bring their music to a wider audience and showed what tight and insatiable performers they were. This illuminating article talks of the start of Beatlemania in the U.S. and the success of I Want to Hold Your Hand:

Armed with a gig on “The Ed Sullivan Show,” The Beatles finally gained traction in the United States. Capitol Records agreed to back their upcoming record, and CBS News anchor Walter Cronkite reported on the Beatlemania phenomenon in England. In early December, a 15-year-old Maryland girl named Marsha Albert saw the group on the news and wrote her local radio station asking, “Why can’t we have music like that here in America?” When a DJ tracked down a copy of their still-unreleased single “I Want to Hold Your Hand,” the song became a massive hit. Capitol Records had to scramble to get the single onto record store shelves, and it went on to sell 1 million copies in a matter of days...

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IN THIS PHOTO: The Beatles spend a bit of time enjoying their fame in Miami, Florida in February 1964/PHOTO CREDIT: Daily Express/Archive Photos/Getty Images  

By all accounts, The Beatles still had no idea what was in store for them on February 7, 1964, when they took off from London bound for American shores. Lennon remembered thinking, “Oh, we won’t make it,” while Starr recalled feeling “a bit sick” with anticipation. But when they touched down in New York, the group found themselves greeted by a flock of 3,000 ecstatic, screaming fans—many of them teens playing hooky from school. The band was stunned. “Seeing thousands of kids there to meet us made us realize just how popular we were there,” Harrison later said. In their first press conference, The Beatles appeared relaxed and upbeat. Clad in matching suits, the band fired back at the sea of reporters with cheeky quips that the New York Times later called the “Beatle wit.” “We have a message,” McCartney declared in between questions about the band’s name and their mop-top haircuts, “buy more Beatles records!

The band would manage to escape the wild fans and find some time to sight-see. They would be able to find some time to unwind but it would not be long until the boys were playing for Ed Sullivan and being introduced to the nation. By the middle of February, the band were playing U.S. gigs and Beatles wigs were being sold to adoring fans. The band had become a brand; they were almost God-like in such a short time and it can all be traced from the charting of their song, I Want to Hold Your Hand. The T.V. ratings following The Beatles’ appearance on The Ed Sullivan Show on 9th February, 1964 were off the chart – as the articles continues and makes apparent:

Television ratings for the appearance proved astronomical. According to the Nielsen Company, a record-breaking 73 million viewers tuned in to watch The Beatles on “Ed Sullivan”—nearly 40 percent of the U.S. population at the time. Some newspapers still tried to dismiss the British hit-makers as a passing fad, but the numbers didn’t lie: Beatlemania had taken the United States by storm”.

Fans and new converts could not get enough of this new track and a band who were like nothing else around! They would film their second live T.V. slot on 16th February and over seventy-million gathered around their sets. Even though the band would be able to do regular stuff – such as surfing in Miami – fans were hot on their heels.

There were cases of fans cutting Ringo Starr’s hair and others who would launch themselves at the band’s vehicles. It was, in many cases, like it was a zoo but this was almost unprecedented. I can only think of artists such as Elvis Presley who created a storm but even he did not whip up such a typhoon of popularity so quickly! When the band arrived back in London, there was a crowd of thousands to greet them. The Beatles’ invasion of America was a success and it would lead to five Beatles songs entering the Billboard Hot 100. The T.V. appearances had broken records and it was a remarkable transformation – they came to America as a bit of a British curiosity but left on 22nd February as enormous superstars. We can chart the rise and biblical success back to I Want to Hold Your Hand entering the U.S. charts fifty-five years ago. Few could predict the song would take on a life of its own and it would see The Beatles become stars in the U.S. The track itself was to be bested pretty quickly and they would become more accomplished as songwriters – the sheer simplicity, rush and thrill of the track is the secret of its success! If they’d have launched in the U.S. with Hey Jude or A Day in the Life then I do not think that many people would be invested.

The Beatles transformed the strong if slightly predictable Pop scene and provided this new lease. They were mop-haired and scamps; they were like brothers and were pretty playful. Consider the sort of artists that were around in 1964 and they were somewhat stale and anonymous. The Beatles offered a real kick and revolution and people responded in force! Beatlemania would only intensify and it got to the stage where, only a couple of years later, the band were feeling the strain and retired from touring – unable to hear themselves over screaming girls and the sheer volume! The album, Sgt. Pepper’s Lonely Hearts Club Band (1967), was their escaping from the stage and spending proper time in the studio. At a time when social media and homogenisation in music makes it hard to foster anyone like The Beatles, it makes that 1964 transformation seem almost like a benchmark. Will any band be able to generate the same popularity ever again?! I cannot recall any artist before The Beatles striking America so hard and being clasped to the chest so firmly. The adoration and raw focus the boys got from fans was insane and they were being met at airports by hordes of screaming! I Want to Hold Your Hand might sound quaint and inconsequential to new listeners and those unaware of their history but, on 18th January, 1964, The Beatles made their U.S. chart debut and their lives would be changed forever. It is amazing to think critics at the time – some, not all – dismissed the song and were tired of it being played on the radio all the time. Bob Dylan was on board and loved the band but felt, because of the unconventional chords and lush harmonies, the band were on weed – he was surprised to find they weren’t when he met them! The Beatles achieved a lot in their career and would enjoy continued success but few are more important than...

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 IN THIS PHOTO: A fan cannot contain her excitement during Beatlemania in 1964/PHOTO CREDIT: Getty Images

THE start of Beatlemania in America!

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Dreezy/PHOTO CREDIT: Ed Cañas

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

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I think we can definitely say...

IN THIS PHOTO: Maren Morris

that things are a bit wintery out there and it is a pretty cold day! Although the sun is coming out, there will be a chill in the air so I think we need something to lift that gloom and bite! Instead of getting out there for the sake of it, why not listen to these female-led tracks that are guaranteed to offer some warmth and guide you through the day but get in the head and stay with you. I hope you do find something in the pack that turns the head as there are some cool tracks in there. It is not only about bringing the heat in this selection. There are songs that have a distinct calm and will project images of tenderness and beauty. Whatever your tastes, you are more than accommodated for in this...

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 IN THIS PHOTO: Jade Bird/PHOTO CREDIT: The New York Times/Getty Images

EPIC selection.  

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

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Hockeysmith Lonely Loving Me

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PHOTO CREDIT: Ellie Smith Photography

Big JoanieWay Out

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Charlotte Black - Los Angeles

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Maggie Rogers Say It

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PHOTO CREDIT: @shervinfoto 

Alice MertonTrouble in Paradise

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Emotional Oranges Hold You Back

Ruth Willow Memories of You

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Jessica Gerhardt Be My Hands

Becky G LBD

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Charlotte AdigéryHigh Lights

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PHOTO CREDIT: Nick Suchak Anabasis Media

Milk Teeth Stain

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Weyes Blood Andromeda

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PHOTO CREDIT: Jeff Bierk

For Esme To Love

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The Japanese House Maybe You’re the Reason

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Lauren Aquilina If Looks Could Kill

Dreezy RIP Aretha

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MabelDon’t Call Me Up

Maren MorrisGIRL

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Rozi PlainSymmetrical

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Violet SkiesIs She Gonna Be There?

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Hannah GraceWith You

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Lily AhlbergBody to Body

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dodieShe

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Jade BirdI Get No Joy

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PHOTO CREDIT: Rob Blackham

Saint AgnesWelcome to Silvertown

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Ålesund - Shift & Flux

INTERVIEW: Teri Eloise

INTERVIEW:

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Teri Eloise

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MY last interview of the week is with Teri Eloise...

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who has been talking with me about her recent single, Lose Myself, and how that came together. I ask her about her Trinidadian heritage and how that affects her music; which albums she holds dearest and what she has planned for this year.

The songwriter recommends some approaching artists to look out for and looks back at a busy 2018; how she chills away from music and which artists she’d support on tour if she could – she ends the interview by selecting a new track.

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Hi, Teri Eloise. How are you? How has your week been?

Hi. I’m great. Thanks for asking. My week has been pretty busy. I’ve been working on a lot of music and planning some new stuff for the near future!

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

Yes, of course. My name is Teri Eloise. I’m twenty-one-years-old, born in the U.K. and raised in Trinidad and Tobago. I’m a singer, songwriter; producer and a visual artist. Basically, all I do is create!

How did Lose Myself come together? Is it based on personal experiences?

When I started writing Lose Myself, I wasn’t really planning on writing what would be my next single. At the time, I was quite lost, trying to figure out myself and my future and I was dealing with some conflicted feelings. I remember one night there was so much going on in my head, so I thought why not write down some of these thoughts and feelings to help get some clarity and ease my mind? I played a chord progression that I was working on and the words started pouring out along with a melody.

The song pretty much wrote itself. I didn’t really know what I wanted Lose Myself to sound like either; I just started playing around on the keys and layering it with instruments and sounds that I thought sounded good. It’s one of the first songs in which I took such a big role in producing, so it’s something I'm very proud of and it’s always going to be an extremely special song to me.

Do you already have plans for 2019?

Definitely. I’m working on a lot of new music right now. I’ve also got a couple collaborations that might be happening and then, of course, once I have more music out I’m going to start doing some live shows. It’s all really exciting!

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How do songs form and come to mind? Do you spend time specifically writing or wait for inspiration to hit?

It really depends on my mood or the weight of my emotions - or if I’m extremely under pressure! Usually, lyrics would pop up in my head at the most random times and I’d have to jot them down in my phone so I don’t forget. With that, I’d have some lyrics or a concept to expand on. A lot of times, I’d work on the music first and then start writing. Whatever comes naturally.

Do you feel your Trinidadian heritage is important regarding your sound and how you approach music?

Absolutely. Growing up, I was surrounded by so many different kinds of music - I listened to everything from Calypso, Soca; Reggae to my dad’s old Heavy-Metal L.P.s, to my mum’s old-school R&B C.D.s - and the list goes on. The music and culture of Trinidad & Tobago is so vibrant and rich; it’s influenced my artistry a lot but not to the point where I’d limit myself to one sort of sound.

I think, growing up, listening to so many different genres...t real- ly helped expand my musical knowledge to the point where I just love incorporating elements of different genres into my music.

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When you were growing up, which artists guided and compelled you to get into the business?

Growing up, I really admired artists like Bob Marley, Michael Jackson; John Lennon and many more but I chose those three names because not only did they have incredible music; they had a message of peace and love. It taught me at a young age how much good you can do with music. That heavily inspired me to get into the business and take music more seriously.

2018 has just ended. How do you think it went and what was the most important lesson you learned?

2018, for me personally, was the year of taking a step back and just healing. I spent a lot of time on my own; sort of learning to enjoy my own company and learning how to love myself more… and the outcome was great because I released two songs that represent my growth!

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

Working in the studio and bringing my music to life. Those are always the most special musical moments for me. Ten.

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

The first one would be Michael Jackson’s Thriller. I remember getting the 25th Anniversary Edition when I was ten-years-old and listening to it every single day. It’s definitely influenced my style and it’s an album that inspires me to this day.

Chapter II by Ashanti and Dangerously in Love by Beyoncé were two other really special albums to me. My granddad actually got them as a present for my sister and I which makes it even more special. Those were two albums that were always on-repeat when I was younger and inspired me a lot musically and vocally.

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

It would be so cool supporting someone like Rihanna. My rider would probably be really simple and boring like water, some food; maybe a humidifier, some peppermint tea…I have no idea!

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

Yes. It is being discussed! Right now, I’m so focused on the creative side of things like writing and recording more music. So, when I have a few more songs out this year, live shows are definitely going to happen.

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 IN THIS IMAGE: IAMDDB

Are there any new artists you recommend we check out?

IAMDDB and Nina Nesbitt.

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 IN THIS PHOTO: Nina Nesbitt

What advice would you give to new artists coming through?

Stay true to yourself and to be honest in your music. Don’t compare yourself to others because this is your journey. Also, just have fun and remember why you started! It’s a lot of work but, if it’s your passion, it definitely won’t feel like it.

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

I’m always making music these days so it’s a hard one to answer, but recently I’ve been enjoying cooking a lot…I love learning new things, acquiring new skills. I also love spending my time with the family, having drinks with friends; just trying to stay calm and enjoy my youth!

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’d love it if you played Dancing with a Stranger by Sam Smith and Normani!

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Follow Teri Eloise

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FEATURE: In for the Kill: The Return of the Riot Grrrl Pioneers

FEATURE:

 

 

In for the Kill

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IMAGE CREDIT: @theebikinikill  

The Return of the Riot Grrrl Pioneers

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HOW much has the music industry changed...

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IMAGE CREDIT: Spotify 

since 1997?! That is the year when Bikini Kill disbanded and I remember it like it was yesterday. This was the year we saw epic albums from Radiohead, The Chemical Brothers; Missy Elliott and Blur. It was an incredible time for music and so many inspiring records came out in that year. It was a bit of a strange years where Britpop has sort of waned in the U.K. and Grunge was a diminished force in the U.S. A lot of great female artists were releasing music but I feel like there wasn’t the same balance as we would see in future years. Bikini Kill are pioneers who helped shape music but, by 1997, that run was over and they headed their separate ways. It seemed like, more and more, the media were misrepresenting the Riot Grrrls movement and Bikini Kill were being vilified by so many people. They were being attacked and abused and, after their final album in 1996 (Reject All American), it seemed like they had no choice. Reject All American is just under thirty minutes but it is relentless Punk and a great way to end their career. Although the band released only three albums, they helped put Riot Grrrl music to the mainstream. The movement was an underground feminist Punk scene that began in the early-1990s in Washington state and combined feminist consciousness alongside Punk politics. Its musical roots sort of came from Indie-Rock and came around at a time when movements like Grunge were taking hold.

That movement was male-dominated and a lot of the mainstream music being favoured in the early-1990s was male-driven. Riot Grrrl was a response to that and allowed female artists the chance to have their voices heard and talk about something more important than what was being said – a lot of the male bands of the time were recycling cliché lines and not adding anything substantial to the world. Although darker and controversial subjects were talked about by Riot Grrrl acts – including rape, domestic abuse and racism – Bikini and bands like Heavens to Betsy and Sleater-Kinney (who are back with a new album this year) were adding something radical to music. It was a new eave of Punk that, unlike the first movement, put women first. The Riot Grrrl movement has an underground subculture of D.I.Y. ethics, zines; art, political activism and action. Led by Kathleen Hanna (vocals), Bikini Kill would soon epitomise Riot Grrrl and published their own fanzine, Bikini Kill, for their debut tour of 1991. Bikini Kill would urge women to come to the front of the stage at gigs and they would present them with lyric sheets. Tickets were cheap so the audiences picked up as their name spread. At a time when the popularity and focus was going the way of male bands, Bikini Kill would see protest and abuse at their gigs – a lot of male concertgoers would abuse and attack Bikini Kill.

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 IMAGE CREDIT: Spotify

The band’s first recordings were quite minor and D.I.Y. They released the Bikini Kill E.P. on the Indie label Kill Rock Stars that has Ian MacKaye (Minor Threat, Fugazi). The debut L.P., Pussy Whipped, was out in 1993 and cemented their reputation and fanbase. The debut album was packed with intensity and great songs but the anthem, Rebel Girl, soon exploded. It was performed as early as 1991 at concerts and all four band members wrote the gem. Hanna wrote the lyrics and (the lyrics) override and attack the male tropes that they hated. The song’s narrative gives light to a lesbian perspective and is a frank song; a love song for another woman and an anthem of the Riot Grrrl movement. Rebel Girl became this anthem and the most identifiable expression of what Riot Grrrl was. Reviews for Pussy Whipped were positive and this one, from Entertainment Weekly in 1994, made some interesting observations:

Take ”Rebel Girl,” a highlight of their first full-length album, Pussy Whipped (Kill Rock Stars). In some ways the song is utterly conventional, from its introductory kickoff drumming to its punky bass line and lead singer Kathleen Hanna’s exclamation that her friend is ”the queen of the neighborhood!” We’ve heard all these elements before, in rock songs too numerous to mention. Yet it has been a long time since an all-woman rock band sounded this unaffected-in other words, Bikini Kill simply, to spout another cliche, rocks out. (The band does include one male member, guitarist Billy Karren.)...

 

When it swings into the chorus, Hanna sings ”Rebel girl/You are the queen of mah world!!” with one of the most impassioned wails in recent years. With the possible exception of L7’s more commercial ”Pretend We’re Dead,” ”Rebel Girl” may be the first riot-grrrl anthem. Pussy Whipped, the first great riot-grrrl album, has plenty of moments like that. As with many of its peers, Bikini Kill sticks to throbbing bass lines, breakneck-speed drumming, crude production, and songs that, in true punk tradition, average about two minutes each. Unlike other grrrls, though, they know something about tight song structures, and Hanna doesn’t just scream. She can taunt, mock, and blare with the best of them (”These are my ruby red lips/The better to suck you dry”). At other moments, though, she can sound as girl-group poppy as a younger, angrier Belinda Carlisle”.

After the demo album, Revolution Girl Style Now, of 1991, the band was hitting new heights and their music was inspiring women around the world. If they were on top of the world in 1993, it would not be long until the negative attention and objections formed cracks in Bikini Kill. One can credit Bikini Kill for crediting the term ‘girl power’ – they got their before the Spice Girls! – but not everyone loved what they were doing. Men would bring chains to their shows and lob them at them; threaten to stab them in the hearts and kill them.

The fact Kathleen Hanna talked about sexual abuse she suffered connected with female fans and she would join fans to the band. Fans would come up to her and share their experience; breaking down barriers and giving these women/girls common and accessible idols. Bikini Kill also made gigs a safer space for women at a time when there was a lot of sexual abuse and sexism. They made sure women could dance and come to the pit – rather than hanging at the sides and fearful of being attacked. The influence of Bikini Kill spread to both men and women and even inspired some big bands. Everyone from Sleater-Kinney to Kim Gordon hail Bikini Kill as an influence and the fact the band fought oppression and took risks – Hanna would often perform in just her bra; men were shirtless so, as she said, it was only fair! – meant they picked up a passionate and huge following. One can look at modern Punk and feminist bands of today and hear Bikini Kill in their D.N.A. The history of Bikini Kill is quite brief but definitely huge and vitally important. It was wonderful when they announced they’d return to the stage for some U.S. gigs. Pitchfork provide some details:

Feminist punk pioneers Bikini Kill will reunite for three shows this spring in New York and L.A. Kathleen Hanna, Tobi Vail, and Kathi Wilcox will be joined by guitarist Erica Dawn Lyle for the shows, replacing guitarist Billy Karren. These will be Bikini Kill's first full shows since the band broke up in 1997. (In late 2017, Hanna, Vail, and Wilcox played one song together at the Kitchen in New York City, during an event celebrating the release of the 33 1/3 book about the Raincoats by Pitchfork Contributing Editor Jenn Pelly.)...

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IMAGE CREDIT: @theebikinikill  

No further information was made available about new music or more touring.

Bikini Kill were the most prominent figureheads of the 1990s riot grrrl movement, inspiring a generation of women to pick up guitars, form bands, publish zines, and get involved in politics. After the band called it quits, frontwoman Kathleen Hanna went on to form Le Tigre and the Julie Ruin. Last year, Bikini Kill’s discography was added to streaming services. Their 1998 compilation The Singles was also reissued in 2018.

Bikini Kill:

04-25 Los Angeles, CA - Hollywood Palladium
05-31 Brooklyn, NY - Brooklyn Steel
06-01 New York, NY - Terminal
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I asked, at the top, how much the industry has changed since 1997. Definitely, in terms of sounds and genres, things are a bit different. The mainstream is not quite as solid as it was back then but, in many ways, more female bands and artists are leading the way. One can definitely credit Bikini Kill with breaking barriers and making it easier for women to speak about their experiences and talk openly about abuse. In many ways, things have not changed. I doubt many female bands are getting the same threats and violence as Bikini Kill did back in the 1990s! In terms of the way women feel at gigs and how safe they are...have we actually gone backwards?!

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 PHOTO CREDIT: Getty Images

Look at the allegations of sexual abuse at gigs and big artists like R. Kelly being uncovered as this predatory and unseemly figure. There is still so much perversion and danger in music and, whilst Bikini Kill did help bring about changes and dialogue, a lot of male artists are tarnishing that legacy. We have corrupt and unpopular politicians like Donald trump out there and sexism is still rife! There are small changes coming in different areas of music but in terms of pay and equality at gigs, can we really say there has been as much progression as you’d expect?! I feel there is still a preference for male bands and, whilst there are great female groups everywhere, festivals still go after the men. We do need to proffer those bands who stand against authority and, in a bleak time, can make gigs a safe and secure place for women. Riot Grrrl burned bright and captured a spirit that was desperate to be free and understood. That seems to have fallen away and we need to rekindle that spark! I am not sure whether the new Bikini Kill gigs will translate into fresh material – let’s hope it is not merely nostalgia and a way of revisiting their past work. It seems like there is a good spirit in the band and they feel like it is a good time for them to come back. There are a load of great female artists and bands who are speaking out and talking about subjects like abuse (including Halsey) but there is nobody quite like Bikini Kill.

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 PHOTO CREDIT: @theebikinikill/Getty Images

I do feel like they can inspire a new generation and bring about some fresh movement. Even though there are minor evolutions regarding festivals – slower than one had hoped – and improvements here and there, what better way to provoke awareness and protest than a new wave of Bikini Kill magic?! They still have that impetus and reputation and are coming back into an industry that will be more accepting of their music. They will not face the same threats and disgusting behaviour as they did in the 1990s and I feel their voices are sorely needed. Things are black and troubled in many ways and I do think many female artists and fans do not feel comfortable talking about certain subjects or fear being persecuted. Eyes are open but very few minds seem to be. I do fear the sexual abuse claims we are seeing now will only intensify and more and more artists will find themselves being named. It is the unflinching sexism and comparative lack of opportunities for female artists that should spur new Bikini Kill work. Maybe they cannot come up with something as revolutionary and genius as Rebel Girl but there will be so many people looking their way to see what they can come up with! There are some changes afoot but there is a long way to go. With the promise of new Bikini Kill shows, it seems like the Riot Grrrl pioneers are back to...

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 IN THIS PHOTO: Bikini Kill performs during Rock for Choice 1993 at The Palladium in Hollywood/PHOTO CREDIT: Jeff Kravitz/FilmMagic

KICK some serious arse!

FEATURE: Everything in a Different Light: The Amazing Susanna Hoffs at Sixty

FEATURE:

 

 

Everything in a Different Light

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IN THIS PHOTO: Susanna Hoffs in the 1980s/PHOTO CREDIT: @SusannaHoffs/Getty Images 

The Amazing Susanna Hoffs at Sixty

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THIS feature will end with a Susanna Hoffs playlist...

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IN THIS PHOTO: The Bangles on a ‘Champs Elysees' T.V. broadcast in 1987/PHOTO CREDIT: Bertrand Rindoff Petroff/Getty Images

but I wanted to mark her sixtieth birthday and recall the first time I came across her music. I guess, like so many, it was The Bangles. The Californian band formed in 1981 and would go on to have huge success and release five albums (so far). It is a testament to their closeness and popularity that their most recent effort, Sweetheart of the Sun, was released in 2011. That album has a great 1960s feel to it and combines the previous work of The Bangles with a jangly, pleasing uplift; a mix of stunning songwriting and incredible vocals. Susanna Hoffs said of the album that it was a reaction to the fact the group are all working mums and have to juggle the responsibilities of home and music – as The Bangles, they were sort of married to one another and life was very different. Even though Sweetheart of the Sun arrived twenty-seven years after their debut, they did not miss a beat and proved they are an incredible force. The tight-knit sound and memorable songs leads me to believe there will be another album from them soon. The Bangles’ debut, All Over the Place, gave me my first taste of Susanna Hoffs. Even though I was born in 1983, this 1984-released record was part of my early life and I recall hearing the hits on the radio. The title might suggest unfocused sounds and ambition but I think it is more to do with rushing around and being frantic.

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 IMAGE CREDIT: Spotify

Nothing really underlines that more than Manic Monday – written, of course, by Prince. The album was not a huge success but it provided enough momentum for them to perform with Cyndi Lauper and Huey Lewis and the News; this brought them to the attention of Prince, who wrote that hit. That would come in 1986 but, on All Over the Place, there was a smattering of promise. Whilst Debbi Petersen (drums, vocals), Michael Steele (bass, vocals) and Vicki Petersen (lead guitar, vocals) make up the group, I think Hoffs’ vocals and songwriting stands out most. She, to me, seems to be the secret weapon of The Bangles – even though they are a democratic trio now - a quartet then - and there are no leaders. Although Vicki Peterson was the ‘lead’ songwriter of the band – she co-write or solo wrote most of the songs – Hoffs co-wrote songs like Hero Takes a Fall, Dover Beach and Restless. Her lead vocals on Dover Beach and He’s Got a Secret are amazing and get into the head. The Bangles’ albums would divide critics after the debut but All Over the Place received some fond praise. AllMusic had this to say in a retrospective review:

All Over the Place is also the Bangles' most unified full-length album; Susanna Hoffs hadn't yet been singled out as the star of the show, and the round-robin lead vocals, stellar harmonies, and tight, concise arrangements make them sound like a real-deal rock band, and the set's gentle but insistent sway from British Invasion-styled rock and West Coast pop feels natural, unforced, and effective. And when drummer Debbie Peterson and bassist Michael Steele feel like rocking out, the Bangles generate a lot more heat than they're usually given credit for, most notably on "Silent Treatment." The Bangles' second full album, Different Light, would sell a lot more copies, but All Over the Place is easily their best and most satisfying LP”.

A lot of the lead vocals on A Different Light are from Michael Steele or Vicki Peterson but Hoffs, as a songwriter and vocalist, gets a lot of the biggest slots. Vicki Peterson, Steele and Hoffs sing together on the band’s huge hit, Walk Like an Egyptian, but Hoffs takes the lead on two of the biggest songs from the album – Manic Monday and Waking Down Your Street. She managed to project a combination of fatigue and hope on the former; something soulful, alluring and nuanced on the later...a performer like no other and someone who was able to transcend these songs to the heavens! Seven of the twelve songs from the album have Hoffs as a co-writer and she was starting to come more into her own. Critics were a little less warm to Different Light and felt the 1960s-inspired songs of the debut were their strong suit. That would be redressed but, to me, it is the breathy and unique voice of Hoffs that made Different Light so captivating. It was rumoured – or quite clear! – that Prince was infatuated with Hoffs and that is why he agreed to write for them. Everything is where I really bonded with The Bangles and discovered the full power and beauty of Susanna Hoffs. I feel the best moments from the record had Hoffs on lead vocal.

In Your Room was one of the strongest songs from the band to that point and returns to the well of the 1960s. You can hear bits of The Beatles and Petula Clark in the song – Hoffs was a fan of these artists. Written with Tom Kelly and Billy Steinberg, Hoffs showed her songwriting prowess on the track and it hit the top-five in the U.S. charts. I’ll Set You Free and Waiting for You had Hoffs lead – the former was another successful single – but the defining hit, Eternal Flame, is why I love her so. Written with the same pair she penned In Your Room with, the song was an instant success and a bit of a tonal change for The Bangles – a rare ballad among more driven, up-tempo songs. Hoffs was talking about The Bangles visiting Elvis Presley’s Graceland and being inspired by that. Steinberg used that story and paired it with memories of a synagogue in the town where he grew up, Palm Springs (California), and those two visions became the ‘eternal flames’. Hoffs was tricked into recording the vocals naked because it was told Olivia Newton-John had done the same – producer Davitt Sigerson said that but it was a prank! To many, earlier hits are more memorable and typical of The Bangles’ strengths but I adore Eternal Flame! This is Susanna Hoffs at her strongest and most captivating.

Her lead vocal is sensational and she imbues so much tenderness, haunt and wonder. It is such a commanding and compelling vocal that means the song is impossible to forget. The song was released in 1989 and, aged five, I recall seeing the video through the bannisters of my old house. It was on VH1 and, whilst it was just the band on the beach, it seemed to open my eyes and has stayed with me since. I wracked my brain wondering why that was but it was that vocal from Hoffs that drew me close. I had never heard anything like it and was determined to dig deeper into The Bangles’ back catalogue. Of course, being five, that consisted or listening to the radio but I remember that song and video being ingrained – it still is to this day! 2003’s Doll Revolution was the first album from the band since their 1998 hiatus. The album gained some healthy reviews but it notable because all three of its singles had Hoffs as the lead. The songs were all co-written by the band (apart from the Elvis Costello cover that opened things) but Something That You Said, Tear Off Your Own Head (It’s a Doll Revolution) – the Costello song – and I Will Take Care of You had Hoffs guide the songs forward.

 IMAGE CREDIT: Spotify

Sweetheart of the Sun would arrive in 2011 and saw Michael Steele leave the group - I am not sure why she did but it meant The Bangles had to adapt (I think Steele’s family commitments were taking up a lot of time). It was a new dynamic and feel but, whilst there were a few co-writers to add to the music, it was the trio who did most of the writing and updated their 1960s sound. Sweetheart of the Sun is fresher and more mature than their earliest work but retains the sunshine, passion and catchy moments! The entire band turn in some great vocals but, as AllMusic say in this review, the bulk are handled by Susanna Hoffs:

They all sound miraculously ageless when singing in harmony but when singing alone they tend to push their voices past their natural limits and end up hitting some duff, craggy notes. Especially Hoffs, who takes the bulk of the leads. It’s too bad Sweet didn’t clamp down and reign in this small but noticeable problem, as it makes for some jagged moments. Still, Sweetheart of the Sun is a remarkably good record that comes long after anyone may have expected the Bangles to do anything much at all. Credit Sweet's production, but also the trio’s dedication and renewed skills and energy. Hopefully it won’t take another quarter-decade to follow this one up”.

I hope the trio get back into the studio to record another album and, as much as I love The Bangles as a trio, I cannot get enough of Hoffs’ voice!

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 IMAGE CREDIT: Spotify

Hoffs has recorded for various bands – including Ming Tea (a faux-1960s group she was/is in with Matthew Sweet and Mike Myers) – but she has enjoyed a great solo career. 1991’s WHEN YOU’RE A BOY did not receive great praise but there were some great moments in the record – including My Side of the Bed. Susanna Hoffs’ eponymous 1996 album helped bring critics back and showcased strongest songs and stronger vocals. It is a more personal album and discusses abusive relations, insecurities and, oddly, John Lennon’s assassination. Many thought Hoffs was past her prime but that was not the case: her second solo album is incredibly catchy, assured and confident. In 2006, with Matthew Sweet, she would release her first Under the Covers album – as the title implies, some of her favourite songs from other songwriters. Her third instalment came in 2012 and it is interesting seeing her approach different songs and adding her own stamp. Her 2012 album, Someday, saw her evolve once more and hit new peaks as a songwriter and singer. She worked alongside Nashville musicians Andrew Brassell and producer Mitchell Froom. The album is sweet and tender and does not really stick closely with The Bangles’ jangly Pop. American Songwriter said this of the album:

The majority of Someday was co-written by Hoffs along with Nashville indie-artist Andrew Brassell, and helmed by veteran producer Mitchell Froom (Elvis Costello, Bonnie Raitt). The 10-track song cycle is a sentimental, but compelling musical billet-doux to sixties-style melodies and emotive lyrics. The picturesque prose and folk-like sound of the infectious “November Sun” and the playful bounce of “One Day” instantly reel you away and find you yearning for simpler times...

 

Someday is the perfect soundtrack for a summertime rainy day that doesn’t overreach or become self-indulgent, but fulfills its goal of a delightfully enjoyable pop record. Here, Hoffs at long last mends her musical fences by making up for her promising but disjointed previous solo efforts (1991’s uneven When You’re A Boy and the forgettable banality of 1996’s Susanna Hoffs). This is easily and undeniably Hoffs’ most definitive musical statement to date”.

I do wonder when we will next hear some music from Susanna Hoffs. Some incredible female icons have turned sixty in the past year – including Madonna and Kate Bush – but Susanna Hoffs holds a special place in my heart. The fact that she always seems to be working and writing means we might not have a huge wait before new material – whether that is a solo record or another Bangles collection. As she celebrates turning sixty, I am reminded of all the incredible songs she has helped bring to the masses. When it comes to writing and performing, there is nobody out there like her. That voice, especially, is a huge weapon: it can go from youthful and sparkling to velvet-smooth and gorgeous without much notice. I will listen to some classic Hoffs/Bangles music but, to mark her sixtieth, I have ended this piece with...

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 PHOTO CREDIT: Getty Images

AN essential Susanna Hoffs playlist.

INTERVIEW: Ryan Gibeau

INTERVIEW:

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Ryan Gibeau

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I have been speaking with Ryan Gibeau...

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about his single, Flying Away, and his new album, Quiet Fall. He discusses the inspirations behind this single and album and reveals what comes next; where he will be touring and whether he will come to the U.K. and play – the American songwriter selects some rising artists to check out.

I ask Gibeau if he has any advice for emerging musicians and which albums are most important to him; what the scene is like in Brooklyn right now and whether there is more music coming later this year – he ends the interview by selecting a pretty good track.

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

Hi. My week has been eventful, thank you! My pre-sale for Quiet Fall was a great success and now I am shipping out hundreds of packages to some awesome early listeners!

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

Hi. My name is Ryan Gibeau (G-Bo) and I am a Brooklyn based singer/songwriter. I love everything under the entertainment umbrella and do my best to contribute! 

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

There is a story behind Flying Away - and it was a very surprising one in two ways...

As a songwriter, lyrics and story are hard for me to get right and call done. Also, I usually record my sessions to remember progress. In this instance, I was leaving the East Coast to try out L.A. - which meant leaving an on-again-off-again relationship for good. It was emotionally very difficult and, on that flight, I had the urge to write about it. In moments the story was written out and, as I was writing it, I was imagining a melody but had no way to record it and no instrument to help me figure out the chord progression...so I just guessed the chords and continued humming the melody to make sure it wasn't lost.

As soon as I landed, I got to my friends home and borrowed his guitar. To my absolute shock, the song was whole. The chords worked, the melody was as I imagined and the story was told. Flying Away was birthed on a flight to L.A. and still gives me goosebumps as I remember the process and shock to see it all work.

Your album, Quiet Fall, was released at the end of last year. What sort of things inspired the songs? Is it quite a personal album?

Quiet Fall is a very personal album. It chronicles the breakdown of a relationship and how I fell and got back up. I have love and respect for her but we didn't work and it was hurting us both. I wanted to delve into that for a very specific purpose - I want people to see who I am and what I went through. I write about what hurts me and why and how I play a role in that.

I'm not the type that tries to portray a perfect life - the catharsis of making music actually helps me learn and grow. As a result of my honest approach, a lot of people have shared stories about how my music has helped them or emotionally affected them and it creates real dialogue - because there is no shame and there are no barriers. Vulnerable is the hardest thing to be and because I explore this space. I believe other people feel ok to do it too. 

Might we see more music coming later in the year?

My goal is to create more! I am working on new music and also working with other artists - so there will be some knowns and unknowns ahead as I explore post-debut album. Following my social channels is a great way to see progress as I always share the work we make!

When you were growing up, which artists guided and compelled you to get into the business?

I'm glad you asked because I've never shared this before, but I think it’s really important - 'get into the business' is not a term I connect with, truth be told. I am a career filmmaker and music has been a hobby that may, ideally, one day take over. Getting into the business would be amazing but one thing I learned through filmmaking is that the art takes a very big hit when the business angle becomes important.

I make music for entertainment sake and I share - that's my objective. If there's a demand, if it becomes profitable and I can make a living entertaining, that's when I'll accept help getting into the business but, for now, and forever, I'm ideally making my art authentically and organically for art's sake.

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You reside in Brooklyn. Are you inspired by the people and music around you?

Always. When asked who my heroes are, the answer is: the people around me doing it. Making, playing and sharing - it’s all very hard. In the city, there are a lot of people here talking about trying to make it but, when you see people actually making it as they try to make it, you can't help but feel driven in their company. These small venues are full of people taking risks and that is where real passion and creativity comes from. I'll see a show and love the energy of the track.

I'll ask myself why I loved it and figure out how to work those important elements into my show. That research helps me grow and helps my friends and fans enjoy new experiences each time. Big shout and thank you to all N.Y.C. artists!

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

In New York, every show is a hustle to play and get fans out to - and once your show is over the crowd almost completely rotates out for the new band. Seldom does a crowd stay in one place for a night of music here - except my favorite night of music ever. Webster Hall Studio a couple years ago. I had a great crowd of about seventy-five people join me as I opened the night for two other awesome acts. Mid-show, their fans all started pouring in and, rather than talk over the music, they listened. More and more showed.

By the time my show was over, we had about one-hundred-and-seventy-five in the room and they were super-fun! When my show was over, my fans and I stayed for the next act and the room was incredibly electric. The night was all about appreciating the music and supporting the artists and it’s a feeling I hope to experience again and again as I continue to play.

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

Queen - Greatest Hits (1981)

This is the first album I obsessed over and listened to as a kid until I knew all track titles, order; lyrics, melodies and harmonies. Yes, I could also blast all guitar solos with my sweet vocal guitar sound fx. Freddie Mercury, as a performer, only became more relevant when I was older and started performing - only then did I realize his genius beyond the old C.D. I used to play on repeat

Regina Spektor - Begin to Hope (2006)

My introduction to Spektor was actually through Us from Soviet Kitsch in 2005 but shortly after when Begin to Hope came out I realized how into this artist I was. Her voice was such a unique and diverse instrument I wanted to study her and understand how she was able to be so creative, yet also so accessible. Paired with her genius visual style and music video work - I knew this was a special moment in my musical journey.

Bon Iver - 22, A Million (2016)

If you have a heart and a soul you have been crushed by Justin's journey and exploration into music in this album. I was also very lucky to be living here in N.Y.C. as Bon Iver played eight straight shows. Some small at Pioneer Works and then some huge at Kings Theatre. It made the album release so much more special. To not only listen to the music but to watch it live and breathe and change at the same time, I was becoming familiar with the record. 

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

Easy. Sigur Rós. After listing my favorite albums I left out one of my favorite artists, so I'm glad I have a chance to bring it full circle to people who use their voices as a unique instrument and story-tell with melody so beautifully. It would be my mission to learn in real-time how to utilize some of the musical stylings of Sigur Rós to create more huge soundscapes and blend it organically with my sound. Second tour I'd support Muse. Similar reasoning, different genre.

Regarding a rider, I'm not too fussy presently. Just get me on a stage with awesome and reliable sound. I'll hit you back with more particulars after I've been touring and learning why riders exist!

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What advice would you give to new artists coming through?

Do it for love of the game first. Make music because you love making music. Remember that feeling of excitement, power and confidence you get from sharing your gift and never stray too far from it. You will make right and wrong moves in the process of making music – but, if you make decisions with your heart and your gut, you'll likely not regret a mistake.

Coming from experience, I didn't believe in one of my marketing ideas and, in the end, it cost me money and I failed in an effort to strengthen myself as a musician and a brand. Also, when you do make a mistake, understand what the mistake was and why/how you made it and don't repeat. Learn and grow always - and never stray too far from the love of why you started in the first place.

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

I'm organizing a New England tour which is, unfortunately, far from an England tour. You can catch me in Boston, N.Y.C.; New Hampshire, Connecticut and Vermont and, while out for music work on the West Coast, I'll make an appearance in Los Angeles too! 

Might you come to the U.K. and play at some point?

I would love to come out and play for you all! We have had several European requests...so I do believe we will be looking at some dates in the near-future, though; sorry to say nothing is in the books right now! 

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IN THIS PHOTO: Coyle Girelli

Are there any new artists you recommend we check out?

I like this question. Check out a favorite (and U.K.-born artist) Coyle Girelli. He just released his debut solo album, Love Kills, and he and I are playing shows together in N.Y.C. this winter. Also, look into Chris Garneau who has contributed wonderful art over the years including his recent album release, Yours

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IN THIS PHOTO: Chris Garneau

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

Music is what I do in my chill time! In N.Y.C., I run a creative production company called ROCK*iT FiLMS and we spend a lot of time coming up with meaningful content for established and emerging brands as well as working with local musicians to help them with killer content. Apart from all that, I play intramural sports and dive into occasional video games and movies. I'm human like the rest of y'all (smiles).

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).

Baby's Romance by Chris Garneau. This is a wonderfully powerful song from Garneau's debut album, Music for Tourists. Amazing

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Follow Ryan Gibeau

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FEATURE: February Song: Incredible Albums to Own Next Month

FEATURE:

 

 

February Song

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PHOTO CREDIT: @all_who_wander/Unsplash 

Incredible Albums to Own Next Month

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I was a little doubtful we’d get many great albums...

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PHOTO CREDIT: @rawpixel/Unsplash 

until March or later but it seems, in 2019, artist are keen to get cracking! This month has not been short of great music but I think next month is where it steps up and we will see a lot more excellent records. It is a cold and wet day so it is a good excuse to stay in and prepare some serious pre-ordering! I am already deciding which albums to get and whether I can afford them all – probably not but you have to put some money aside for great music! I am sure there are a few albums in this collection that will strike you and will be making their way into your collection. I feel, as the months go by, we will see more and more terrific albums out but February is a really great one. Have a browse through the very best of next month and be sure to put some pennies a jar and...

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 PHOTO CREDIT: @marcvcci/Unsplash

GRAB your favourite albums.

ALL ALBUM COVERS: Getty Images/Artists

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Beirut Gallipoli

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Release Date: 1st February, 2019

Label: 4AD

Genres: Balkan-Folk/World/Folk

Follow: https://twitter.com/bandBeirut

Pre-Order: https://www.roughtrade.com/gb/music/beirut-gallipoli

Girlpool What Chaos Is Imaginary

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Release Date: 1st February, 2019

Label: ANTI-

Genres: Alternative/Indie

Follow: https://twitter.com/girlpool

Pre-Order: https://www.recordstore.co.uk/recordstore/Coming-Soon/What-Chaos-Is-Imaginary/60SS0E3I000

The Specials Encore

Release Date: 1st February, 2019

Label: UMC

Genres: New-Wave/Post-Punk/Ska

Follow: https://twitter.com/thespecials

Pre-Order: https://www.roughtrade.com/gb/music/the-specials-encore

Cherry Glazerr Stuffed & Ready

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Release Date: 1st February, 2019

Label: Secretly Canadian

Genres: Noise-Pop/Garage-Rock

Follow: https://twitter.com/cherryglazerr

Pre-Order: https://www.roughtrade.com/gb/music/cherry-glazerr-stuffed-and-ready

Cass McCombs Tip of the Sphere

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Release Date: 8th February, 2019

Label: ANTI-

Genres: Rock/Folk

Follow: https://twitter.com/cassmccombs

Pre-Order: https://uk.kingsroadmerch.com/anti-records/artist/?id=676

Mercury Rev Bobbie Gentry’s The Delta Sweete Revisited

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Release Date: 8th February, 2019

Label: Bella Union

Genres: New-Wave/Post-Punk/Ska

Follow: https://twitter.com/mercuryrevvd

Pre-Order: https://www.normanrecords.com/records/173870-mercury-rev-bobbie-gentrys-the-delta-sweete

YAK Pursuit of Momentary Happiness

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Release Date: 8th February, 2019

Label: Third Man Records

Genres: Alternative/Rock/Indie

Follow: https://twitter.com/yak_band

Pre-Order: https://www.roughtrade.com/gb/music/yak-pursuit-of-mommentary-happiness

Ladytron Ladytron

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Release Date: 15th February, 2019

Label: !K7

Genres: Synth-Pop/Electro-Pop

Follow: https://twitter.com/LadytronMusic

Pre-Order: https://driftrecords.com/products/ladytron-ladytron

Methyl Ethel Triage

Release Date: 15th February, 2019

Label: 4AD

Genres: Art-Rock/Indie-Rock

Follow: https://twitter.com/MethylEthel

Pre-Order: https://driftrecords.com/products/methyl-ethel-triage

Drenge Strange Creatures

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Release Date: 22nd February, 2019

Label: Infectious Music

Genres: Garage-Rock/Grunge

Follow: https://twitter.com/drenge

Pre-Order: https://www.roughtrade.com/gb/music/drenge-strange-creatures

James Yorkston The Route to the Harmonium

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Release Date: 22nd February, 2019

Label: Domino Recording Company

Genres: Folk/Singer-Songwriter

Follow: https://twitter.com/jamesyorkston

Pre-Order: https://www.dominomusic.com/releases/james-yorkston/the-route-to-the-harmonium-lp-mart-exclusive

Julia Jacklin Crushing

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Release Date: 22nd February, 2019

Label: Liberation Records

Genres: Art-Pop/Indie-Folk

Follow: https://twitter.com/JuliaJacklin

Pre-Order: http://smarturl.it/crushing

FEATURE: HOW Many Times Did The Beatles Play There?! The Cavern Club at Sixty-Two

FEATURE:

 

 

HOW Many Times Did The Beatles Play There?!

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 IN THIS PHOTO: The entrance to the original Cavern Club in 1966/PHOTO CREDIT: Mirrorpix

The Cavern Club at Sixty-Two

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THE answer to that question...

is two-hundred-and-ninety-two times (although that was disputed by Barry Miles in his book, The Beatles Diary Volume 1: The Beatles Years, as states that it was two-hundred-and-seventy-five times) but, rather than count off all of The Beatles’ gigs at The Cavern Club, it is worth looking at the venue and how it has managed to survive for so many years. Today marks sixty-two years since The Cavern Club opened its doors. I have been watching a series on Amazon called The Marvelous Mrs. Maisel - which is set in New York during the late-1950s. It is a series about a female comic who comes from a Jewish family and fights for acceptance from her family, the public and her peers. It is a great series and, rather than being a random detour, it makes me wonder whether the first days of The Cavern Club were like that in 1957! In the series, the sets are wonderfully colourful and kitsch; they are escapist and we are opened to this beautiful and classic world. Maybe the 1957-Liverpoool was a bit different but The Cavern Club started life as a Jazz club and would become the epicentre of the Rock and Roll scene in Liverpool. Although the venue closed and opened in a new site in March 1973; excavated and reopened on 26th April, 1984 - having to go through another turbulent move - it is a vital landmark and crucial space. Consider the fact The Beatles played the space almost three-hundred times! How many young artists play a venue that many times in their career?!

 IN THIS PHOTO: Ray McFall outside The Cavern Club (he bought it from Alan Sytner in 1959 and transformed it; he is responsible for booking The Beatles)/PHOTO CREDIT: Getty Images

There are few good shots of The Beatles playing in the early days but you can tell how comfortable and alive they are on that stage. The Cavern Club is a bit of a small venue but it is that intimacy and sense of confine that, for a start, provide a small yet passionate crowd and means you get that closeness with the band. When Alan Sytner opened the club, could he have imagined his replication of a Parisian Jazz club would transform into this iconic venue? It is a huge tourist landmark today and so many people from around the world are keen to almost embark on a pilgrimage to this canonised site. Although that idea for a Jazz club would not last long – maybe not the same cultural ambitions in Liverpool compared to Paris! – Skiffle groups found this great space that suited them and it sort of grew from them. The first big/promising band to play at The Cavern Club was The Quarrymen. It is said that whilst playing golf with with Sytner’s father, Dr. Joseph Sytner, Nigel Walley asked is his son could book The Quarrymen to play. He obliged but wanted to see them play the golf club first – impressed by their turn he said they could play a Skiffle set between two Jazz groups at The Cavern Club. It is like Midge Maisel going to The Gaslight Café in The Marvelous Mrs. Maisel where the bookers put her on between two musicians/novelty acts.

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 IN THIS PHOTO: Cilla Black and Gerry Marsden (Gerry and the Pacemakers) getting down at The Cavern Club in the early-1960s/PHOTO CREDIT: Gordon Whiting

I shall drop the T.V. analogy but the first show by The Quarrymen on 7th August, 1957 was a big deal. The band was not sure of the songs/styles they should play. The band were asked to play Skiffle but a young John Lennon broke rank and asked his band to play an Elvis Presley song. They were told the crowd would rebel and a note was handed to Lennon to cut the Rock and Roll – even then, there was this genius and spark on the stage! Paul McCartney’s first show at the club was with The Quarrymen on 24th January, 1958 (and George Harrison would play there three years later). The tone of the early-1960s was a bit of Skiffle, Blues and Beat. It was on Thursday, 9th February, 1961 when The Beatles first took to the stage. Although countless other artists have played The Cavern Club, we associate the space with The Beatles and helping them cut their teeth. They played their debut gig there following a return from Hamburg. The legendary group would play two-hundred-and-ninety-two times at The Cavern Club and who knows whether The Beatles would have been as strong and thrilling were it not for that experience?! They would soon explode and become this world-famous band and their last set was on 3rd August, 1963. In that two-and-a-bit-years period, it is amazing to think they played so many times at The Cavern Club!

It was clear the Liverpool venue could not cope with the demand that was coming from screaming fans in 1963. Who can guess what would have happened if The Beatles continued to play in 1963?! I can only imagine people would have been breaking the door down and it would have been carnage! One can trace an interest in northern music to the days of The Beatles playing at The Cavern Club. Certainty, more eyes were coming the way of Liverpool and people were traveling from the capital to see bands like The Beatles play. The reputation of The Cavern Club grew and, before long, local bands like The Hideaways were performing. They become the club’s resident band and were the last band to play there before its closure. The Hideaways fought to keep The Cavern Club alive and even protest against the authorities. They were the first band back on stage when it reopened in July 1966 and, in fact, they surpassed The Beatles for the most number of appearances there (over four-hundred, would you believe!). The boom and attention The Cavern Club gained through the 1960s brought in bands such as The Rolling Stones, The Hollies; The Kinks and Queen played at The Cavern Club. It became this booming and must-play spot and, from its humble origins as a wannabe Jazz spot, it has blossomed into this hip and varied venue!

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 IN THIS PHOTO: Monkees legend Micky Dolenz outside The Cavern Club in 2017 during Beatleweek (he received a brick on the club’s ‘wall of fame’)/PHOTO CREDIT: Getty Images

So many venues are closing today - and the impact is always severe. The Cavern Club was shut in March 1973 and was filled in during the construction of the Merseyside underground rail loop. The club would move to 7 Matthew Street but would not remain as The Cavern Club there – The Revolution Club it became and would be rebranded again. There was talk about excavating the original site but it was deemed impossible due to the damage. Tommy Smith, a Liverpool F.C. player, took over the new club and it lasted until 1989. By 1991, new owners Bill Heckle and Dave Jones reopened the club and still take charge today. The club is fundamentally a live music venue but there is that sense of history and legacy that attracts people from all around the world. The shaky and uncertain economic prosperity in Liverpool meant keeping The Cavern Club open in its original spot was always likely to pose challenges. The fact the name remains and we can still see the original site should not be overlooked. Sir Paul McCartney played the new site in 1999 and artists such as Jake Bugg used the venue in ensuing years as a warm-up. It is an important live spot in Liverpool for artists, upcoming and big, to get some experience, play in a wonderful spot and vibe from that history. The front room of The Cavern Club is the main tourist draw and people are keen to get their photos snapped.

One of the biggest moments for The Cavern Club happened when one of its early draws, Sir Paul McCartney, played a secret gig there. In June of last year, I remember reading the news that a few select people had managed to get into the venue and see this master play somewhere that must have felt like home. He played some classics from his back catalogue but was promoting, too, his Egypt Station album.  Macca asked people not to use their phones and just enjoy the gig – most obliged but a few were a bit cheeky. It was a storming gig and strange to see someone who had played there nearly sixty years before come back! It is testament to The Cavern Club’s name and legacy that pulls in these legends! You can check out the venue’s official site and get up/down there for a gig or just have a bit of a day out! Although it is has had a rocky history and had to battle the bulldozer, The Cavern Club remains and brings scores of people in every week. This year, I am sure, will see venues around the nation close and it will be rather sad to see them go. A lot of these venues remain closed and they never get a chance to reopen. The Cavern Club seems like this colossus and stubborn mule that will not be put down and will be around forever.

IN THIS PHOTO: Roy Wood (left) and Wizzard at The Cavern Club in the early-1970s (this is a colour version of the original black-and-white photo)/PHOTO CREDIT: Getty Images/Press

It is sixty-two years since The Cavern Club opened its doors, not expecting how it would be received and what it would become. I can only imagine what it would have sounded like and appeared on that first night. The ideal was to have this Jazz club that gave a Parisian feel to the North-West but that might have been a lofty aim! Instead, local tastes and American influence came into The Cavern Club and it evolved through the years. It is eye-watering seeing all the artists who have played there through the decades and how perfect the set-up seems to be. You get closeness and intimate venue but one that has this immense weight and name. I am sure there will be some celebration today but I wanted to mark the anniversary because of the way the club has survived and, of course, the fact The Beatles pretty much started their life there – apart from their Hamburg days. It remains a vital link in their history and rise and, without it, you can argue the band might not have hit their peak when they did or gone in a new direction. As we raise a glass to this amazing venue and think about all the fantastic music that has been witnessed between its walls, here is to many more decades of...

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IN THIS PHOTO: The Cavern Club where it is today at 10 Matthew Street, Liverpool/PHOTO CREDIT: The Cavern Club/Getty Images 

ONE of the world’s most important venues...

INTERVIEW: Jackie Venson

INTERVIEW:

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Jackie Venson

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THIS is a bit of a delayed interview...

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but I have been speaking with Jackie Venson about her current single, A Million Moments. She talks about her musical tastes and what her plans are for this year; whether she has more material coming and a rising artist we should get behind.

I ask which artist she’d support on the road if possible; a few albums that mean the most and whether there are tour dates coming along – she ends the interview by selecting a bit of a classic track.

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

Hey! I'm great, thanks. I've been working really hard in the studio this week with some incredible musicians and producers. Can't wait to share what we've been up to with you!

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

My name is Jackie Venson. I am a singer/songwriter/guitarist born and raised in Austin, Texas. My music is at the intersection of Rock, R&B; Pop and Blues.

A Million Moments is your latest single. Can you reveal the story behind it?

I recently fell in love and found my life partner and, when at first after we had finally found each other, we were having a conversation about all the crazy little events in our individual lives that led us to meet each other. That led him to say the words “a million moments” which sounded so much like a lyric I couldn’t escape it. I also feel like many people can relate to this, even if it is something else that isn’t related to finding love.

Is there going to be more material coming soon? 

Oh, yes. I have a full length album releasing in early-April; the release show will be the biggest venue I’ve ever headlined in my career. The album will be called Joy and will include some singles released in 2018 as well as a whole batch of new music.

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Can you remember when you got into music? Was there a particular artist that inspired that?

I was eight-years-old when I started piano lessons. My father and my brother, Andrew and Andre, are professional musicians and growing up in a household with them primarily influenced me playing music and furthermore pursuing it as a career. Having direct exposure to career musicians made me confident that it was possible for me too.

You have had a great year. How do you think you have evolved as a songwriter since the start of your career? 

Yes, absolutely, and I believe it’s for two reasons: I introduced a sampler and other electronic instruments into my sound; I also started working with producer Chris ‘Frenchie’ Smith. The combination of new instruments as well as a collaborator with a fresh set of ears and a whole lifetime of musical experience has changed my sound and songwriting in wonderful ways.

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Do you already have plans for this year?

Oh, yes. I will be performing several times at the FAI conference in Montréal. I am very excited for that. I also will be releasing another full-length album and having a subsequent tour surrounding it starting at The Paramount Theater in Austin, TX! It's a venue that's always been iconic in Austin, TX and it will be the largest venue I ever headline.

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

Yes. When I started playing the guitar I hung out with these two guys, one of which was an incredible guitar player. We actually ended up starting a jam/Psychedelic band together where I played bass and we were jamming around town as well as hanging out and jamming in our rehearsal space. It was this crazy incubation period for me where I was soaking up all this new information just like a really young kid would. I still am seeing how much this time period influenced my playing and my musical ideas. 

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

Songs in the Key of Life by Stevie Wonder; The Miseducation of Lauryn Hill by Lauryn Hill and Good Kid, M.A.A.D. City by Kendrick Lamar. These three albums have sparked so many song and melody ideas I can't even keep track of it at this point. I'd say my music lies in between all three of these albums.

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As Christmas has just been; is there a present you didn’t get you’d ask for now? 

I've never been one to obsess over material things so, if I had to ask for one present, it would be more hours in the day!

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

Stevie Wonder, for sure. He's my hero. As for my rider, I'm pretty easy - chocolate chip, cookie dough ice cream and a six-pack of beer! Boom!

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

Oh, yes. I am going to be all over the world this year, especially in the summer. I will be on the East Coast, West Coast; Alaska, Europe and the U.K.

What advice would you give to new artists coming through?

Don't ever give up. Don't ever despise the days of small beginnings. Good ideas have lonely childhoods. Don't compare yourself to others. Keep jamming and keep moving forward.

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 IN THIS PHOTO: Aaron Stephens/PHOTO CREDIT: Eric Morales

Are there any new artists you recommend we check out?

Yes, Aaron Stephens. I am obsessed with his album, Focus.

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

Not much because music is often how I unwind as well. I love practicing and jamming in my rehearsal space. However, when I need to get away from all of it, I like playing video games and spending time with my dog.

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)

As by Stevie Wonder

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Follow Jackie Venson

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FEATURE: Chartbusters: The Female Artists with the Most U.K. Number-One Hits

FEATURE:

 

 

Chartbusters

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IN THIS PHOTO: Madonna (no other female solo artist/band has more U.K. number-one hits than her (thirteen)/PHOTO CREDIT: Getty Images 

The Female Artists with the Most U.K. Number-One Hits

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IT would be good to say the music world has improved...

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 IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: Getty Images

so we can proudly say women in the industry are being given the same attention as men. Most of the writing and production credits we see for charts hits are occupied by men. There are some great female producers and writers there but I feel they are being overlooked or not being employed by big artists. There are small changes coming in but we have a long way to go. In fact, when Dua Lipa scored a number-one hit with New Rules she became the first U.K. female solo artist since Adele to have a number-one – that song was Hello and that came out in 2015! The fact there was this two-year shocked me! We have prolific and successful female artists like Jess Glynne who do hit the top of the charts but most of the biggest numbers – women with the most number-one songs – are from the past. I wanted to present this piece to showcase the most successful female musicians but also highlight a problem we have today: the mainstream still being bowed towards the men. The fact festivals and award shows are becoming more balanced leads me to believe we can see improvement in years to come – the sheer wealth of female talent is staggering. Many say that chart positions do not matter but they do. The U.K. charts now do not reflect the very best out there and that needs to change. Here is a rundown of the female artists with the most chart-topping hits. There are some great names in the pack but let’s hope some more modern artists can join the elite. I think there is the talent out there and know that, in years to come, we will see some new artists...

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 IN THIS PHOTO: Beyoncé (who has scored five U.K. number-ones - not including her work with Destiny’s Child or The Carters)/PHOTO CREDIT: Getty Images

RUB shoulders with the greatest ever.

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

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Madonna

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Stream: https://open.spotify.com/artist/6tbjWDEIzxoDsBA1FuhfPW?si=kyuhPAXXRX26E-LwsxHHVA

How Many U.K. Number-One Hits? 13

Count It Up: Into the Groove (1985), Papa Don’t Preach (1986); True Blue (1986), La Isla Bonita (1987); Who’s That Girl (1987), Like a Prayer (1989); Vogue (1990), Frozen (1998); American Pie (2000), Music (2000); Hung Up (2005), Sorry (2006) and 4 Minutes (ft. Justin Timberlake and Timbaland) (2008).

First U.K. Number-One: Into the Groove (1985)

Most Recent U.K. Number-One: 4 Minutes (ft. Justin Timberlake and Timbaland) (2008)

Defining U.K. Chart-Topper: Vogue (1990)

Spice Girls

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PHOTO CREDIT: Spotify 

Stream: https://open.spotify.com/artist/0uq5PttqEjj3IH1bzwcrXF?si=2gAk6zcZSpSfKA-u3srgZg

How Many U.K. Number-One Hits? 9

Count It Up: Wannabe (1996), Say You’ll Be There (1996); 2 Become 1 (1996), Mama/Who Do You Think You Are (1997); Spice Up Your Life (1997), Too Much (1997); Viva Forever (1998), Goodbye (1998) and Holler/Let Love Lead the Way (2000)

First U.K. Number-One: Wannabe (1996)

Most Recent U.K. Number-One: Holler/Let Love Lead the Way (2000)

Defining U.K. Chart-Topper: Say You’ll Be There (1996)

Rihanna

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PHOTO CREDIT: Craig McDean for The New York Times 

Stream: https://open.spotify.com/artist/5pKCCKE2ajJHZ9KAiaK11H?si=RINLYHHlR2W_IPuOWM70nQ

How Many U.K. Number-One Hits? 9

Count It Up: Umbrella (ft. Jay-Z) (2007), Take a Bow (2008); Run This Town (collaboration with Jay-Z and Kanye West) (2009), Only Girl (in the World) (2010); What’s My Name (ft. Drake) (2010), We Found Love (ft. Calvin Harris) (2011); Diamonds (2012), The Monster (collaboration with Eminem) (2013) and Wild Thoughts (collaboration with DJ Khaled) (2017)

First U.K. Number-One: Umbrella (ft. Jay-Z) (2007)

Most Recent U.K. Number-One: Wild Thoughts (collaboration with DJ Khaled) (2017)

Defining U.K. Chart-Topper: Diamonds (2012)

Jess Glynne

Stream: https://open.spotify.com/artist/4ScCswdRlyA23odg9thgIO?si=nDyzx1zYQym4GXf1xFHkQQ

How Many U.K. Number-One Hits? 7

Count It Up: Rather Be (collaboration with Clean Bandit) (2014), My Love (collaboration with Route 94) (2014); Hold My Hand (2015); Not Letting Go (collaboration with Tine Tempah) (2015), Don’t Be So Hard On Yourself (2015), These Days (collaboration with Rudimental, Macklemore and Dan Caplen) (2018) and I’ll Be There (2018)

First U.K. Number-One: Rather Be (collaboration with Clean Bandit) (2014)

Most Recent U.K. Number-One: I’ll Be There (2018)

Defining U.K. Chart-Topper: Don’t Be So Hard on Yourself (2015)

Kylie Minogue

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Stream: https://open.spotify.com/artist/4RVnAU35WRWra6OZ3CbbMA?si=jLq3Whm2T5GhK4GJtoIaGg

How Many U.K. Number-One Hits? 7

Count It Up: I Should Be So Lucky (1987), Especially for You (collaboration with Jason Donovan) (1988); Hand on Your Heart (1989), Tears on My Pillow (1990); Spinning Around (2000), Can’t Get You Out of My Head (2001) and Slow (2003)

First U.K. Number-One: I Should Be So Lucky (1987)

Most Recent U.K. Number-One: Everybody Hurts (as part of the Helping Haiti project) (2010)

Defining U.K. Chart-Topper: Can’t Get You Out of My Head (2001)

Britney Spears

Stream: https://open.spotify.com/artist/26dSoYclwsYLMAKD3tpOr4?si=D5Ezxh5HQY2sGmHuBSHSxA

How Many U.K. Number-One Hits? 6

Count It Up: ...Baby One More Time (1998), Born to Make You Happy (1999); Oops!… I Did It Again (2000), Toxic (2004); Everytime (2004) and Scream & Shout (collaboration with will.i.am) (2012)

First U.K. Number-One: ...Baby One More Time (1998)

Most Recent U.K. Number-One: Scream & Shout (collaboration with will.i.am) (2012)

Defining U.K. Chart-Topper: Toxic (2004)

Sugarbabes

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IMAGE CREDIT: Spotify 

Stream: https://open.spotify.com/artist/7rZNSLWMjTbwdLNskFbzFf?si=KswXhdUwTmyfmgMFX4BXrQ

How Many U.K. Number-One Hits? 6

Count It Up: Freak Like Me (2002), Round Round (2002); Hole in the Head (2003), Push the Button (2005); Walk This Way (collaboration with Girls Aloud) (2007) and About You Now (2007)

First U.K. Number-One: Freak Like Me (2002)

Most Recent U.K. Number-One: About You Now (2007)

Defining U.K. Chart-Topper: Push the Button (2005)

All Saints

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Stream: https://open.spotify.com/artist/5TDVKqW9uhqGjwwwKGuma4?si=G8DfVF4ZR2q60UxnR2HHGg

How Many U.K. Number-One Hits? 5

Count It Up: Never Ever (1997), Under the Bridge/Lady Marmalade (1998); Bootie Call (1998), Pure Shores (200)0) and Black Coffee (2000)

First U.K. Number-One: Never Ever (1997)

Most Recent U.K. Number-One: Black Coffee (2000)

Defining U.K. Chart-Topper: Pure Shores (2000)

Beyoncé

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PHOTO CREDIT: Photo: Kevin Mazur/Getty Images for TIDAL  

Stream: https://open.spotify.com/artist/6vWDO969PvNqNYHIOW5v0m?si=Yiiuk3lsTb6k0NwKtY9Msg

How Many U.K. Number-One Hits? 5

Count It Up: Crazy in Love (ft. Jay-Z) (2002), Déjà Vu (ft. Jay-Z) (2006); Beautiful Liar (collaboration with Shakira) (2007), If I Were a Boy (2007) and Telephone (collaboration with Lady Gaga) (2010)

First U.K. Number-One: Crazy in Love (ft. Jay-Z) (2002)

Most Recent U.K. Number-One: Telephone (collaboration with Lady Gaga) (2010)

Defining U.K. Chart-Topper: Crazy in Love (ft. Jay-Z) (2002)

Cheryl

Stream: https://open.spotify.com/artist/3NyNPJaemMYsL14DK2tO01?si=yb0gbXCUTFmuTTYGzcMe7A

How Many U.K. Number-One Hits? 5

Count It Up: Fight for This Love (as Cheryl Cole) (2009), Promise This (2010) (as Cheryl Cole); Call My Name (2012) (as Cheryl Cole), Crazy Stupid Love (ft. Tine Tempah) (as Cheryl Cole) (2014) and I Don’t Care (2014) (as Cheryl Cole)

First U.K. Number-One: Fight for This Love (as Cheryl Cole) (2009)

Most Recent U.K. Number-One: I Don’t Care (2014)

Defining U.K. Chart-Topper: Fight for This Love (as Cheryl Cole) (2009)

Katy Perry

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PHOTO CREDIT: Covergirl 

Stream: https://open.spotify.com/artist/6jJ0s89eD6GaHleKKya26X?si=ualTrch0SBW-7THcjDQM3w

How Many U.K. Number-One Hits? 5

Count It Up: I Kissed a Girl (2008), California Gurls (with Snoop Dogg) (2010); Part of Me (2012), Roar (2013) and Feels (collaboration with Calvin Harris, Pharrell Williams and Big Sean) (2017)

First U.K. Number-One: I Kissed a Girl (2008)

Most Recent U.K. Number-One: Feels (collaboration with Calvin Harris, Pharrell Williams and Big Sean) (2017)

Defining U.K. Chart-Topper: I Kissed a Girl (2008)

FEATURE: The New BBC Radio 2 Line-Up: A Pretty Remarkable Day One

FEATURE:

 

 

The New BBC Radio 2 Line-Up

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IN THIS PHOTO: Zoe Ball is the new face of breakfast on BBC Radio 2/PHOTO CREDIT: BBC/Getty Images 

A Pretty Remarkable Day One

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WHEN the new shows at BBC Radio 6 Music...

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 IN THIS PHOTO: Sara Cox is the new drivetime host on BBC Radio 2/PHOTO CREDIT: Getty Images/BBC

started up last week, I was eager to review them and see what sort of impact they would make. It was not like there were new D.J.s and there was a big overhaul. In fact, it was a case of a bit of a shift and putting the D.J.s we all know and love in new time slots. I loved the new line-up because it was different and I think this year needs to be fresh – it is great listening to your favourite station but a change is a good thing. I was full of praise for the new assortment and felt that each presenter added their own stamp to their new shows. Shaun Keaveny was moved from breakfast to the afternoon and, despite a few minor slips on the first show, it was a brilliant introduction and he has really taken to it. I love his new show and Keaveny sound refreshed and revitalised. I am not sure how long that energy will last but it is a good switch. Lauren Laverne has stepped into breakfast and moved from her morning show. She has, again, taken to this post and has made the show her own. I love her new show and all the fresh features make it really exciting. Mary Anne Hobbs moved from weekend breakfast to weekend mornings and she has a chance to shine. Not that she lacked sparkle before: it is harder to get noticed on weekend breakfast and this means she has more time to wow the nation.

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 IN THIS PHOTO: Jo Whiley has taken over the evening slot on BBC Radio 2/PHOTO CREDIT: Getty Images

There have been a lot of debates regarding gender equality in radio and whether it matters whether we have an equal spread. I remember there were grumbles when it was announced there would be a woman helming BBC Radio 6 Music breakfast. The moves that have been made this year are not political or designed to fill quotas. Instead, it is a case of recognising some incredible talent and making some necessary changes. BBC Radio 2 had a change and there have been some big moves. Chris Evans has gone to Virgin Radio and Simon Mayo departed his evening show with Jo Whiley. Many grumbled and blamed Whiley when Mayo left but it was nothing to do with her and his decision. I was pleased, therefore, when I heard Jo Whiley had been given the 7 P.M. slot on BBC Radio 2. She had been getting relentless abuse from people regarding Simon Mayo leaving the station and that affected her. Her new show started brilliantly and I feel she should have been given that slot earlier – keeping Mayo but giving him his own show. That is all in the past but it was exciting to hear a refreshed Whiley take to her new show and welcome the listeners in. I am interested to see how the show develops but it is her connection with the listeners and the great music that will bring new people in. A lot of evening shows are too gimmick-heavy and do not really play enough music.

I think Whiley has a perfect blend between listener interaction and the tunes. Despite the fact she only has a couple of hours – maybe increase the show to three hours?! – it was a great show. Trevor Nelson also has his Rhythm Nation on BBC Radio 2 from 10 P.M. and he is an important part of the new line-up. Whiley opened her show with Buffalo Stance from Neneh Cherry. I think it is the best opening song from all the presenters’ shows – including those at BBC Radio 6 Music – and announced her show in style. There was a nice mix of classic songs/artists – including James and Buzzcocks – together with classic cuts from Beyoncé and Arctic Monkeys. It was Dave Grohl’s fiftieth birthday yesterday so Whiley played some Foo Fighters (Everlong); she spoke with Mark Ronson from L.A. and, among the other songs played, we had A Tribe Called Quest, Lucy Rose and Sister Sledge among the pack! I do not always tune into BBC Radio 2 because the music can be a bit so-so and I find BBC Radio 6 Music is stronger. Whiley’s show was rock-solid and I do not think she put a foot wrong with the songs. A lot of D.J.s go a bit safe and obvious but she played some terrific songs; they were all programmed right and there was that just-right sonic blend. She sounded more relaxed and happy at the mic than I have heard for a while and it was a triumphant opener.

Maybe the music will become a little less sh*t-hot today and this week but I doubt it! By a final tine from Four Tops, it was the end of the maiden show. Given the quality of music played and how entertaining Whiley was; I wonder whether there will be a chance to extend the show at all. In any case, it was a great show for those who were relaxing from a hard day and chilling out. I do not usually tune into that time slot on BBC Radio 2 but I think Whiley has changed my mind! Turn back the clock to 5 P.M. and we had Sara Cox take to drivetime. It was great to hear Cox hand over to Whiley and two great female broadcasters stand next to one another. I shall come to the subject of gender at the end but, like Whiley, there were eyes on Cox. Her appointment, I think, was a great one and there needed to be a change to drivetime. I think she did brilliantly in her old show position but I always felt like she was not given the platform deserved. Her music selections have always been ace and that was continued on her first outing yesterday. I looked at some little video clips Cox posted before her show; her walking into Wogan House and high-fiving people; smiling and cheering and, at the end, walking into the studio to have Jeremy Vine tell her she was five hours earlier!

Like Jo Whiley, there were some great little bits with the listener and it was an interactive show. So many D.J.s are quite closed and do let people in: Sara Cox was energised and eager to have the listeners take part and get involved. She has been on radio for years so we knew she’s be great but she sounded completely natural in the drivetime role. The opening track was Sisters Are Doin’ It for Themselves from Eurythmics and Aretha Franklin. Maybe it was a bit on the nose but it was a perfect anthem to open up the show and a classic belter. The quality of the show is vital but I think it was a big moment for the station – a female D.J. hosting this slot – meant a lot of eyes were Cox’s way. She was funny, charming and her usual self. The first song was a bit of a nod to Zoe Ball – who I shall mention later – and the remainder of the music was top-notch. I think it was pretty level in terms of quality with Jo Whiley and there was that mixture of the big hits and some rarer cuts. One or two dodgy songs filtered in – Ed Sheeran and Kygo were in there – but all the other tracks were awesome. Sara Cox fans know she likes her 1980s music and we had some classic Madonna (Express Yourself) and George Michael (Faith).

A couple of new tracks were in there – including a collaboration from Dua Lipa and Calvin Harris – but the emphasis was on the classics. There was Pop and R&B from Lady Gaga and Rihanna; some Phil Collins (Two Hearts) and big tracks from Paul Simon and 10cc. She played out with Odyssey’s Back to My Roots and it was the end to a great show. I loved the music and it was a balance between typical BBC Radio 2 stuff and some Cox favourites. I do hope there will be more 1980s music through the week because we do not hear enough. Her infectiousness and zeal for the show meant the two hours seemed to zip by and, again, like Whiley I do wonder why the shows are two hours when they could easily extend them. I guess there are a lot of shows to get through but the fact one wants more after each show shows they are pretty good. It is early days so it is hard to say whether the formats will change drastically. Maybe there will be new features and ideas but I think the fact the shows are quite chat/music heavy works. Neither Cox or Whiley showed any real nerves and their aim, to get people in and having fun, definitely worked! There were a lot more eyes looking the way of Zoe Ball and her first breakfast show...

She is currently on the air doing her second shift but the opening show as another success. I read and saw interviews she gave leading up to the show and she confessed her nervousness. That is only natural and, when you follow someone like Chris Evans, there are going to be nerves. Many were sad to see Evans leave and wondered whether anyone could fill the void. Evans starts his new show next week and there were a lot of media bodies waiting for Ball as she walked into Wogan House to start her first show. She had teased us about the opening song and it was clear a lot of thought went into the selection. Aretha Franklin’s Respect opened the show and it was a great shout. Not only do its messages seem to make a point – give her some affection and respect her in this new role – but it was a powerful wake-up. There is a new team on the breakfast show. Tina Daheley, Mike Williams and Richie Anderson join Ball and they have an instant chemistry. I think Daheley especially shines and is perfect on the news. It is good to have this team together that sounds close and have that affection for one another – rather than one assembled by a committee. The guys all posed for photos prior to the show and if there were any nerves then I couldn’t tell.

Ball welcomed the listeners in and there was this slight sense of trepidation – although you knew she would smash it. The first segment of the show was female-heavy and the fact Rita Ora was played after Aretha Franklin set the tone. The first caller to the show was a woman and Tina Daheley was the first of the new support crew to speak. It makes a change from a lot of the male-heavy breakfast shows and I wonder whether we will see these changes spread to other networks this year. I will talk about the music and moments but The Guardian had some kind words about the first Zoe Ball Breakfast Show.

As it dawned that she was now in the line of succession to Terry Wogan and Chris Evans, Ball’s pulse could almost be heard thumping under the opening link at 6.30am. But in the next three hours, she was confident without being cocky, stumbling verbally only once after the Radio 2 “bosses” turned up behind the glass. The arrival of managers seems to have, even for a rare employee earning more than her employers, much the same impact as on a factory floor.

The first show also felt deliberately calculated to thwart reporters seeking stories of broadcaster rivalry. Ball revealed that Evans (who starts his new Virgin Radio breakfast show next Monday) had sent her a “lovely” good luck text, while Cox – who finished second in the race to replace Evans before being given the consolation of drivetime – phoned in from her dog walk to compare first-day nerves. “You’re going to smash it, gorgeous. Love you!” said Ball, to which Cox replied: “Love you, babes.” David Dimbleby and Fiona Bruce did well to avoid such a handover on Question Time last week”.

One thing we can rely on when we talk about a D.J. like Zoe Ball – Sara Cox and Jo Whiley too – is the fact they will be professional and have that experience. Ball is no stranger to the radio game but the BBC Radio 2 breakfast slot is a big one. She spoke to John Cleese who was warm and witty. Cleese can sometimes be a bit guarded in interviews but he gave Ball good value and was keen to open up and chat. Ball showed how easily she could connect with her public and the new listeners. This rapport and connection meant it was a smooth and easy-going show. I wonder how big the listener numbers were for the opening show because I can imagine a lot of people tuned in just to hear this big unveiling. There was only one slight bump. The BBC bosses appeared behind the glass during the show – just to see how it was going – and it must have put Ball off her guard for a bit. It is a good gesture but I think it is like someone standing over you when you type! Ball was fine and, apart from being a little taken aback, she cracked on with what she does best. I am not sure whether she is going to get used to the 4 A.M. wake-ups – or just after – but there were no signs of bleary eyes. Some have said the rapport was too ‘young’ at times whilst others claim some of the music was a bit ‘old’ – it was the review I just quoted, actually. I feel Ball is a very young and cool listener so she is quite natural when being a bit more ‘down with the kids’.

There are a lot of young listeners tuning in so it is only right the tone would reflect this. I like the fact the show was not stuffy and there was a cooler, more relaxed edge. The music was fine too. BBC Radio 2 does play ‘older’ music because its demographic expects that. It was not going to be all chart bangers so the fact there was some Phil Collins in the mix was great. Breakfast is about waking you up and providing a kick but there are those who want some chill and a chance to hear some classics. The features on the new show included Show and Tell and Seven-Second Shout-Out. The former welcomed young listeners in to broadcast their talent to the nation. There was an interesting mix of sounds on the first breakfast show. Cher’s Believe and Coldplay’s Adventure of a Lifetime made it into the show and there was no leaning towards one genre or another. The fact we had Rita Ora and Silk City alongside The Cardigans and Stevie Wonder meant all the age ranges were catered for. Maybe there were one or two tunes that divided listeners but the selection was broad and interesting. New tracks from Fleur East and Sam Smith mingled with The Human League – Phil Collins popped up again to end the show. One was not expecting a radical change regarding the music and tone because it is BBC Radio 2 and the breakfast slot needs to have that balance.

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 IN THIS PHOTO: Zoe Ball and her Breakfast Show team are ready for action/PHOTO CREDIT: @TinaDaheley

I like the fact Ball got to have an input regarding music and it was not just a cut-and-paste playlist. Chris Evans was very hyped and restless regards a presenting style whereas Ball favoured a more relaxed and subtle approach. There was plenty of enthusiasm from her and the team but the emphasis was very much on the music and the listeners. The first show would have been a miss were she to talk too much or copy Evans. Ball managed to come in and offer her own style: a balance of warm and friendly nods to the listener but ample interaction with her new team. Maybe some of the features will take a while to settle but it is nice to hear the public included right away. Maybe something music-based like BBC Radio 6 Music’s features would be a good idea but it is early and there is time for development. Some classic anthems from Fleetwood Mac – Little Lies – and Madonna - Vogue – spoke to me and I loved a bit of Divine Comedy (National Express). The social media reaction to the show as generally positive and people were excited to hear Zoe Ball in the breakfast slot. I think her tenure will be long and successful and I like the fact there is an experienced and popular pair of hands at the decks. Evans was a great host and had his following but it was time for a bit of a change.

I have spoken about the changes and the fact that, on BBC Radio 2, female D.J.s are filling the biggest shows. That triple-threat of Zoe Ball, Sara Cox and Jo Whiley is great and they have all earned their place. There has been some criticism and snottiness – Jeremy Clarkson was especially ‘direct’ – regarding the appointments and the fact that it might have happened to make the station less male-heavy. All the D.J.s already worked on the station so it was not like they brought in new women from other stations. Having Zoe Ball at the breakfast helm was natural because we all know and love her work and she offers something different and fresh. There are no male names I could think of to fill the position so there is no complaint there. Drivetime needed a female host and it has been occupied by men for years and years. I feel like partnerships can be risky and fail so having Sara Cox present it solo was a good move. She has the energy and wit to carry it on her own and, again, there are no male D.J.s on BBC Radio 2 who could do a better job. Jo Whiley was great in that later slot and I have often wondered why she did not get the call sooner. A lot of the big shows are still occupied by men – Ken Bruce and Steve Wright – so it is not like female D.J.s have taken over!

It shows that BBC Radio 2 are conscious of the fact there are great women in their ranks that deserve the chance to get their voices heard on the biggest shows and I love the line-up now. We wake up with Ball and get that sturdy hand of Ken Bruce right after. It is then to Jeremy Vine and Steve Wright and, after that male trio, to the female duo of Sara Cox and Jo Whiley. Trevor Nelson comes in later and it means there is a lot more balance, in terms of gender and tone, than we are used to. The new shows are great and, through the weeks, they will be honed and sharpened but there are few niggles one can have. It was a brilliant start to the new week and a new dawn for BBC Radio 6 Music. Make sure you follow the new shows through the week because there is a lot of gold in there. I will switch between BBC Radio 6 Music and BBC Radio 2 because I think there have been a lot of positive moves and much-needed switches. It is good hearing women in powerful positions and it is a lot more than tokenism: it is about these much-admired figures stepping into new slots and showing they are naturals! Many wondered how the new shows would fare on the first day at BBC Radio 2 but Zoe Ball, Sara Cox and Jo Whiley – alongside Trevor Nelson – have shown that...

THEY were born to host these shows!

FEATURE: Director’s Cut: Michel Gondry: His Eleven Finest Music Videos

FEATURE:

 

 

Director’s Cut

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IN THIS PHOTO: Michel Gondry/PHOTO CREDIT: Getty Images 

Michel Gondry: His Eleven Finest Music Videos

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I have quite a few features on the go...

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 PHOTO CREDIT: David von Becker

so I should probably call this one the last! It is nice to have a few different things spinning and it gives me the chance to concentrate on a specific area of music. I have looked at vinyl albums and the ones you need to get: now, as I look at music videos, I am celebrating long-lasting and inspiring directors and their greatest videos. The music video is often overlooked and there was a time when it was what defined a song. I feel stations like MTV helped push directors to new heights and there have been some iconic examples through the years. Whether they are as relevant today as they were years ago remains to be seen but I think a well-directed and imaginative video can change a song and elevate it. It can be hard creating a video that endures and resonates but there are plenty out there. To me, there is no better music video director than Michel Gondry. He has directed films too – including Eternal Sunshine of the Spotless Mind – but it is his music vids that strike me hardest. Whereas a lot of directors, when faced with a song, will go for something straight-forward and grounded; Michel Gondry pushes open the mind and weaves in these weird and wonderful visuals. Perhaps is best known for his collaborations with Björk but, through the years, he has directed sterling videos for The White Stripes, Donald Fagen; Beck, Kylie Minogue and Daft Punk.

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 IN THIS PHOTO: A promotional shot from the Showtime series, Kidding, which stars Jim Carrey (pictured) and is directed by Michel Gondry/PHOTO CREDIT: Getty Images/Showtime

Sometimes, I struggle to get my head around concepts and what I am actually seeing! He sometimes does split-screen videos and will have two different threads playing that unite at a point; other times, he does a single-shot video and, in many ways, it is hard to define a ‘typical’ Michel Gondry video. I guess he does not have a distinct and unified style: his work is definitely imaginative but Gondry is masterful in a number of different moulds. He can create these huge and evocative pieces but is just as skilled when toning it down and using some brilliant piece of trickery. I think music videos are not quite as special and memorable as they used to be but, in many ways, they are more important. There are more artists out there and every song requires a visual accompaniment. I know budgets are tight but there have been some terrific videos over the past few years – have any of them reached the same height as a Gondry masterpiece? You can make your mind up but I have combined the eleven finest Gondry videos, when they were released and the standout moments from each – hard to do when his videos have so many highlights. Have a look here and associate yourself with one of the music world’s greatest directors. You might not know his name now but, when watching these videos, you’ll want to get more invested...

 IN THIS PHOTO: Michel Gondry with Kate Winslet and Jim Carrey on the set of Eternal Sunshine of the Spotless Mind (2004)/PHOTO CREDIT: Getty Images

WITH Michel Gondry.

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

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The White StripesThe Hardest Button to Button

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Pitch: This is a video that makes use of pixilation animation and creates dozens of kits and guitar amplifiers. We see Jack and Meg White multiplied and each image projected in time to the rhythm of the song. Every time there is a guitar strum or drumbeat, there is another image of them. It creates this trippy and unforgettable visual. The effect we get – where Meg moves forward and occupies a new drum each time, leaving a vacant one behind her – was achieved when a trail of bass drums was set up. She would play on the last drum, that was removed and then she would move back one drum; move back another drum and play another beat. The sequence was filmed and run in reverse. The video was filmed in New York and sees the duo pass by local landmarks and down the Subway.

Song Release Date: 9th December, 2003

Album: Elephant (2003)

Standout Moment: (2:25): Beck appears in a cameo in a white suit and presents Jack with a “box with something in it”. What is in the box, man?!

LucasLucas with the Lid Off

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Pitch: In terms of the actual story, it follows Lucas as he takes us through various scenes. The chorus sees him in the booth, singing his song but, as the verses come through, he can be seen lying on his bed, taking a train and watching something at the cinema – one assumes a fictional ‘video’ for Lucas with the Lids Off. The video is rare because it was a single take; a long continuation with no edits, cuts or post-production magic. The video is shot in black-and-white and it is filmed on a set. It is an amazing technical feat and one that could have been sticky for the actors. Gondry keeps the camera moving and takes us through the world of Lucas and the creation of a song. To me, the video is a tale of the creative process from conception to execution: another Michel Gondry masterpiece that has yet to be equalled!

Song Release Date: October 1994

Album: Lucacentric (1994)

Standout Moment: (0:42-0:44): A delicious twist of the camera takes us from Lucas rapping at the microphone to underneath a table where we see a woman’s legs. It is a quick move but one that is dazzling and all done in that single shot.

Kylie MinogueCome into My World

 IMAGE CREDIT: Spotify

Pitch: We are taking into the world of Kylie Minogue on the streets of Paris. Adding a new spin to the song’s title and chorus, it is a typically impressive Gondry video that finds Minogue, at first, walking a circuit and singing to camera. Eventually, we see another Kylie doing the same circuit, and on and one. The multiple versions of Minogue interact and she literally ducks under a version of herself. The screen gets busier and busier as we see multiple layers and people; an arresting and challenging video that makes you wonder how it was done. In fact, the video was shot on 8th September, 2002 at the intersection of Rue du Point du Jour and Rue de Solférino in Boulogne-Billancourt, Paris. Forty extras were on hand and the video took a total of fifteen days to design and master.

Song Release Date: 11th November, 2002

Album: Fever (2001)

Standout Moment: (2:53): One version if Kylie Minogue swings around a lamppost as another one ducks under her arm.

Daft PunkAround the World

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Pitch: Perhaps this is the most iconic and recognisable Gondry video! Gondry was tired of choreography in videos and seeing fast cuts and shallow editing – something needed to change. He used five groups of chatters on a platform that represented a vinyl record: four robots walking around in a circle; four athletes wearing tracksuits with prophetic heads on as they walked down stairs; four women dressed as synchronised swimmers moving up and down another set of stairs; four skeletons dancing in the centre of the platform and four mummies dancing in time to the song’s drum pattern. Each ‘group’ symbolises a different instrument and the robots, as Gondry told, represent the singing.

Song Release Date: 17th March, 1997

Album: Homework (1997)

Standout Moment: (3:30-3:32): A wide shot sees all the performers dancing onto the central part of the set (the middle of the vinyl record) as robots then dance on the outside circle.

Donald FagenSnowbound

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Pitch: We see a combination of impressive stop-motion and real-time footage. The real-time visuals were imposed onto models. These models are then sent to a modelled, futuristic city – effects were added in post-production. The story of the video revolves around worker drones whose daily lives are cluttered. It is a grey city where they work and they live in a red, hazy state of repression. Imposed onto the images of this daily grind is soft snow falling. Fagen’s face appears like an overlord as he watches over the drones. The video spotlights one male and female drone but the arresting moment happens when one drone gets zapped whilst napping; Fagen shoots electricity from his vantage point above the city. The drone goes to fight Fagen but is then tossed off from that watch point.

Song Release Date: 16th December, 1993

Album: Kamakiriad (1993)

Standout Moment: (4:13): A striking image of Fagen’s head appearing on a metal structure; spanners as his hands. A tiny man in a tiny car passes by him on a railway-like system as Fagen turns a stern look in his direction.

BjörkJóga

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 IMAGE CREDIT: Spotify

Pitch: It is hard to pick which Björk-Gondry video to pick because there are so many great examples. This is the first one that comes to mind as it signalled a departure from his usual style. It is quite a subtle, if gorgeous, video that focuses on Icelandic terrain and landscapes. Björk is only seen at the beginning and end of the video: the rest of the video follows this once-peaceful scene being interrupted by an earthquake (done using computer animation) and we end with an image of an island floating inside Björk’s chest.

Song Release Date: 15th September, 1997

Album: Homogenic (1997)

Standout Moment: (0:05): The first time we see Björk in the video. It is an aerial shot and we zoom into her face. Seeing her as this tiny figure against the beauty and vastness of nature is a stirring and gorgeous image.

Cibo MattoSugar Water

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Pitch: It is hard to watch this video only once! It is one of my favourite ever and is an early example of Gondry using split-screen effects to look at two different stories happening on screen at the same time. The duo, Miho Hatori, Yuka Honda, start their day in bed as the screen is split and follows each of their days. The left-hand screen is shown is shot forward and the right is reversed. It is dizzying but you will see why that effect was employed. Hatori is seen showering with water whereas Honda is showering in sugar. They get dressed and walk down the stone stairs of their respective apartments. To the left, we see Honda on the ground having been knocked from a moped. On her lap is what looks like a death threat with the letter saying ‘You Killed Me’. The left of the screen shows her getting up and walking away whereas the right shows the moments before. The video then shows the moment the death threat was mailed and Hatori posting it. It all tracks to the opening moment of the duo showering. It is not explained why the accident happened or why that sinister message was sent – creating mystery and allowing the viewer to make up their own mind.

Song Release Date: 1996

Album: Viva! La Woman (1996)

Standout Moment: (2:00): Where we see a close-up of the death threat/letter and both images are fused to spell out ‘You Killed Me’.

The Chemical Brothers Let Forever Be

 IMAGE CREDIT: Spotify

Pitch: Let Forever Be often tops lists when we think of the best Michel Gondry videos. The video depicts a young woman’s (played by Stephanie Landwehr) nightmares. It was inspired by Ray Davies’ 18975 Granada TV production, Starmaker. It employs ground-breaking effects and is a dizzying insight into a haunted and nightmare-riddled mind.

Song Release Date: 2nd August, 1999

Album: Surrender (1999)

Standout Moment: (0:31-0:34): We see a line of the heroine dancing by a mattress. The effect is great and it is a typical piece of Gondry brilliance. She is dressed in a sparkly dress and all of the images then merge together to the one bed where we see her under the covers and the alarm clock by her.

The Living SistersHow Are You Doing?

 IMAGE CREDIT: Spotify

Pitch: Similar to the video with Cibo Matto, this one is shot using split-screen – we see three images rather than the two. It follows the trio and contradicts the positive messages of the song with a series of disastrous events. Included early on is one member burning breakfast, the other pregnant and worried and the third on a plane. We follow those stories as they each try and deal with the events. There is a figure in the kitchen, the baby looks like it is coming and the plane is struggling in turbulence. The anxiety heightens and we see a burning house as the women flees. In the pregnancy scene, the woman packs a suitcase and hops into a taxi. Oxygen masks come down in the plane. Each member makes it safely and hits the road – the first and middle shot by car; the final using a motorbike – but things go wrong as we witness a robbery, labour and a lost woman stranded. An earthquake hits and affects the situations: the baby is delivered but, elsewhere there is carnage on the streets as cars crash and the ground splits. It all ends happily as all three band members are in the delivery room and see the baby.

Song Release Date: 2011

Album: Love to Live (2010)

Standout Moment: (2:46): All three segments of the screen merge in the hospital room and it looks like a single shot. It is wonderfully shot and a great resolution to a tense day for the band!

Björk Army of Me

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Pitch: The music video opens with Björk, wearing a black karate gi, driving a large vehicle that is carrying a man in cryonic slumber in a city, but the passers seem to ignore the mass of the vehicle. The vehicle begins to sputter and slow, prompting Björk to check the motor. Before floating off the vehicle, she turns to the camera and shows metallic teeth. The vehicle's engine assembly consists of a mouth in which all of the teeth appear rotten, comically exaggerated by a shaggy-looking man engulfed in a stench-cloud crawling out of the mouth and offending passers-by.

Björk touches her cheek, appearing to have a toothache, and proceeds to a nearby dentist's office. While she is going to the room of the dentist, her image appears reflected in a series of mirrors that make it impossible to distinguish her real self. She is examined by the dentist, an anthropomorphic gorilla, who discovers a diamond in her mouth. The dentist attempts to steal the diamond for himself, but Björk leaps onto his back and pummels him, and, retrieving the diamond, escapes the office. She takes the diamond back to her vehicle, all the while it multiplies in size until she is barely able to carry it. Björk tosses the diamond into the vehicle's mouth, apparently correcting its earlier affliction.

She then drives to a museum and proceeds inside, carrying a satchel containing a bomb. The museum is full of surrealistic things like mirrors reflecting non-existent people. Sneaking past the museum's guards, she places the bomb on one of the exhibits, a man lying on an altar in a deep sleep. She then bolts toward the museum's exit, concerning the guards and other patrons. She makes it out of the building just moments before the bomb explodes. After the explosion, she re-enters the building to find all the unarmed visitors and the man from the altar, who appears to have been just wakened by the blast. Björk hugs him, crying teardrops of jewels - Wikipedia

Song Release Date: 21st April, 1995

Album: Post (1995)

Standout Moment: (2:02): The gorilla dentist removes a diamond from Björk’s mouth.

Beck – Deadweight

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PHOTO CREDIT: Richard Burbridge  

Pitch: Everything is back to front and the wrong way around! Beck starts on the beach but he is working at his desk. Clips of the film, A Life Less Ordinary, are interspersed and impact Beck. Beck takes photos from the walls of his house – samples of wallpaper in frames – and we follow him as he seems to appear in the film itself. Maybe the film is a dream or a daze; a clever device that gets you wondering. In one of the most striking images, Beck’s shadow pulls him along the street.

Song Release Date: 27th October, 1997

Album: A Life Less Ordinary (film soundtrack) (1997)

Standout Moment: (2:59): Beck is on the street and waves as his shadow waves back.

FEATURE: In Your Honor: Dave Grohl at Fifty

FEATURE:

 

 

In Your Honor

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IN THIS PHOTO: Dave Grohl photoed in 2018/PHOTO CREDIT:  Jen Rosenstein for Rolling Stone

Dave Grohl at Fifty

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THERE are two schools of thought when you...

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 IN THIS PHOTO: Dave Grohl with his Nirvana bandmates (circa 1991)/PHOTO CREDIT: Getty Images

think about Dave Grohl. There are those who like him as a frontman and lead – he helms the U.S. band, Foo Fighters. There are those, like me, who prefer Grohl as a drummer and feel that is where he does his best work. In any case, the man turns fifty today so it is only right to mark that birthday! We also recognise big birthday for icons and, last year, we celebrated Kate Bush and Madonna at sixty. Dave Grohl might not quite have the same legacy and stature as them but I think he is vastly underrated as a musician and performer. Look at how long he has been in the business and how much he has contributed to the world. I love Nirvana’s debut album, Bleach, but so many critics say the same thing: there is a lack of percussive force and it is crying out for something more powerful and immediate. Chad Channing does a fine job on the record but one wonders what could have been if Dave Grohl was there from the very start. Think about the extra respect and kudos Nirvana would have gained if Grohl were in the fold to offer pummel and his animalistic brilliance! Grohl appears on Nirvana’s breakthrough album, Nevermind, and that is where I came across his brilliance. I was only young when the album came out but there was something naughty about listening to Nirvana.

At the time, we were listening to a lot of British Pop and chart music and were not really used to Grunge. I and my friends were aware of American music but nothing quite as intense and different as this – it was a new experience and something that blew me away. I recall hearing Smells Like Teen Spirit on the radio when it was released in September 1991. As an eight-year-old, that sort of thrill and explosion almost blew my head off! It would be a couple of years before I fully investigated Nevermind but, rather than the lyrics and vocals hitting me first, it was the percussion. These were the days when we bought music and checked out the credits. I recall getting Nevermind on cassette and looking at the notes at the back. Checking out who did what, I was eager to know who was responsible for the drumming on the album. This is when Dave Grohl came into my life. It was a minor revelation but one that made me appreciate a new style of music and gravitate towards the drums. At the time, I was hooked by the singer and felt that was the most important part of a band: after discovering Dave Grohl, I had a new appreciation for the drums and the power they hold. One can argue until the cows come home as to the definitive Dave Grohl percussive performance.

 IMAGE CREDIT: Getty Images

Nevermind features the twenty-two-year-old Grohl limbering up and providing Nirvana with the percussion chops they needed. Listen to Breed – the album’s second track – and what Grohl contributes. Sure, there is a murky, swampy and gritty guitar sound from Kurt Cobain and some epic bass from Krist Novoselic but it is Grohl’s granite, titanic sticks that define that song. Listen to that introduction and the machine gun riffle that beckons things in. Before then, Nirvana did not have that sort of power at the back and, in many ways, Grohl offered Nirvana new possibilities and the chance to push their music as far and hard as possible. Alongside producer Butch Vig, the band produced a masterpiece and I think a lot of the credit should go to Dave Grohl. Come as You Are allows Grohl to mix something subtler into the mix but he is back on electric form with Breed; Lithium finds Grohl teasing and offering a solid backbone whereas Territorial Pissings sees him return once more to that fired and frantic brilliance. The rest of that album sees Grohl display his range and ability and give songs such as Drain You and Stay Away new characteristics and nuances. We all know how popular Nevermind became and how influential it is. The chemistry between the trio was immediate and clear; the songs were strong and accessible enough to bring in people who would not usually listen to such music; the performances incredibly strong and eclectic.

You can argue it is Cobain’s leadership that defined Nirvana’s brilliance but I think Dave Grohl is the lynchpin. When the band stepped away from the commercial and recorded the more raw and ‘natural’ In Utero in 1993, it offered them a chance to write music that was less aimed at the charts – the band felt Nirvana was a bit too polished and commercial – and more to themselves. That may sound like a big statement but I think the band were a lot more comfortable on their third album and felt it was a better representation of who they were. There are actually some softer moments on In Utero. Dumb and All Apologies are striking and affecting; the band less intense but more emotionally striking. Grohl, as a drummer, showed he was not just about force and attack and provided subtle yet powerful performances on the songs. He led the attack on Scentless Apprentice and Very Ape; provided one of his best turns on Milk It and was crucial in making Heart-Shaped Box so affecting and urgent. The band would not record another album after In Utero – Kurt Cobain took his own life in 1994 – but they would, again, make history with MTV Unplugged in New York. That album was recorded on 18th November, 1993 and was Nirvana performing for a respectful and excited audience. The band spanned their back catalogue but also brought in a few cover versions – most striking among them was the extraordinary finale, Where Did You Sleep Last Night? (A traditional song that was arranged by Lead Belly).

Although it was hard for Grohl to shine during a concert that was meant to be a bit softer and less intense, he did gives the songs some drive and definitely added to the mix. Many were unsure what would become of the two remaining members of Nirvana after Cobain’s death. It was not long until Grohl started Foo Fighters, in Seattle, in 1994. He was keen to keep playing but rather than remain behind the drums, he was the lead. The band, in fact, started as a one-man project. Perhaps that came from a sense of confusion and not knowing how to process Cobain’s loss. He recruited Nate Mendel, William Goldsmith and Pat Smear to complete the line-up. The band would see new members come and favourites leave but, on 1995’s Foo Fighters, we had a band that were keeping the spirit of Nirvana alive but also bringing in their own sounds. The album received great reviews and there were big hits like This Is a Call on there. Many noted similarities to Nirvana and the fact Grohl inherited some of Kurt Cobain’s vocal elements. The songs were written by Grohl and it was a revelation realising he was a natural leader. I guess drumming is how he started out and would not challenge Cobain when it came to writing Nirvana songs. I am a bigger fan of Nirvana (compared to Foo Fighters) but have a special place in my heart for their 1999 album, There Is Nothing Left to Lose. It was the first Foo Fighters record I really got behind and I love tracks like Breakout and Learn to Fly.  

 IMAGE CREDIT: Spotify

The Foo Fighters have recorded nine studio albums and their latest, Concrete and Gold (2017), shows that Dave Grohl can still compete and match anyone out there. I guess the best Foo Fighters material came prior to 2005’s In Your Honor but the band continue to make arresting and stadium-sized albums. Grohl has performed for a number of bands through the years but another one of his big credits is being part of Them Crooked Vultures. The band has only recorded one album – their eponymous record in 2009 – but the line-up featured Josh Homme (Queens of the Stone Age, Kyuss) and John Paul Jones (Led Zeppelin). I forgot to mention Grohl’s role in Queens of the Stone Age but will come back to that in a bit! As part of Them Crooked Vultures, he was back behind the kit and providing that avalanche. Listen to No One Loves Me & Neither Do I and the technique throughout. On New Fang and Dead End Friends, Grohl provides the perfect backbone for Homme and Jones. It is clear, in everything he does, he is one of the most powerful and inspiring musicians in the world. I suggest people get Them Crooked Vultures as I feel Grohl’s drumming is more complex and varied on the album. He was iconic in Nirvana but Them Crooked Vultures allowed him more range and flexibility. It is wonderful hearing a lot of the tracks with the drumming isolated. I often wonder how Grohl manages to get through takes of certain songs without his arms falling off because he exudes such fever and passion!

I do hope Them Crooked Vultures come back and record again because we have not heard Grohl at the drums for a while. I often wonder why he was not recruited as a permanent member of Queens of the Stone Age because, on Songs for the Deaf (2002), he adds new dynamics and energy to the band. No One Knows is an instant classic and, when listening to that song, I am always on the air drums! The riffs are meaty and fresh but it is Grohl’s octopus-like agility and multi-limbed attack that gives the song its oomph and potency. Grohl’s input on Songs for the Deaf gives songs like Go with the Flow and Six Shooter depths other drummers could not achieve. Grohl would not return to the band until 2013’s ...Like Clockwork. Maybe it was his commitment with Foo Fighters but it was great to hear him back with Q.O.T.S.A. Joey Castillo, their long-term drummer, left during the recording of the album and that left the door open for Grohl to return. He plays drums on the tracks If I Had a Tail, My God Is the Sun; Fairweather Friends, Smooth Sailing and I Appear Missing. I actually think his contributions are the most impressive and better that what Castillo managed to record before he left. Maybe Grohl will perform with the band again but they have Jon Theodore as their new sticks-man.

I still think there are no finer drummers in the world than Dave Grohl. He is a great lead and guides Foo Fighters but he is an epic gun-for-hire and can transform any band/album. I do hope he gets the chance to get on the drums more permanently because, even though he would be in the background, it seems to be his natural home. Not only has Grohl inspired countless musicians but he is, as everyone says, one of the nicest men in the music world. He is conscientious and keen to speak out. This article lists reasons why Grohl is a legend but you can see, from the charity work he does to how he respects his fans, this is no mere musicians. In many ways, Grohl is a leader and icon that goes beyond the expected and connects with the people. He has donated money to fans and he has spoken out against fans fighting at his gigs. The man wants peace and love in the world and, even though he is a muscular and explosive drummer, he is a teddy bear who wants the world to be a better place. It is almost embarrassing to list the good deeds he has performed and how much joy he has brought. Not only is Grohl a sweetheart but he seems immune to pain.

 IN THIS PHOTO: King Dave Grohl performing whilst recovering from a broken leg/PHOTO CREDIT: Getty Images

When he broke his leg in Sweden in 2015, he continued to play on and actually performed gigs sitting on a custom-made throne. The band had to pull out of Glastonbury but did get to headline in 2017. I am one of the most vocal people around when it comes to bands like Foo Fighters headlining. I am a huge fan of Dave Grohl but feel like they have headlined enough and the new breed need a chance to shine. I think Grohl can bring an epic set but we do need to freshen up the headliners and take chances. In fact, when thinking about Grohl being accident-prone; he recently fell off the stage at a Las Vegas show after chugging a beer. The man is not willing to slow down and play it safe and it is good to see! Even though he is fifty today, there is rebelliousness and that Rock spirit that will never die. He is that unique mix of inspiring and sometimes-controversial frontman and a charitable, benevolent man away from the stage. Grohl is always funny in interviews and his title is not without proof – he really is The Nicest Man in Rock. In a time when we have few bands leading the way and standout musicians; Dave Grohl is a sort of father figure and one of the few icons left in music. Before I leave things, I want to bring in an illuminating interview – read the whole thing – he gave to GQ last year.

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 PHOTO CREDIT: Getty Images

In the interview, Jonathan Heaf (who chatted to Grohl and followed him and Foo Fighters on tour) discussed Grohl’s energy and readiness:

Ready? Grohl is on a permanent countdown to launch. He is, was and always will be in PSR – a positive state of readiness. The atmosphere in the Foos’ dressing room since we arrived at the venue around two hours ago – running red lights from their hotel, the Four Seasons, in a convoy of nine blacked-out Mercedes-Benz Vito Tourer people carriers with 12 accompanying police bikes and two squad cars, sirens screaming and lights flashing – has been akin to a house party just before the cops shut it down, always about one round or one hit shy of someone getting hurt.

Grohl’s freewheeling enthusiasm for life, that whole charming raconteur shtick, is for real. One can’t help but feel, however, that calling him “the nicest man in rock” – as almost every journalist has, since forgiving him for daring to make any music after Nirvana – is utterly disingenuous. He’s way smarter than that. Anyway, since when was calling someone “nice” considered a compliment? Aren’t school children always told “nice” is the laziest adjective they can possibly use to describe someone? If you need one word to describe Grohl, it should be the absolute antonym of “lazy”.

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 PHOTO CREDIT: Getty Images

Grohl went on to talk about his America and how things have changed under the leadership of Donald Trump:

For someone who has gone around the world as much as him, has Grohl... “Felt the impact of Donald Trump in regards to what other countries feel about Americans?” he interjects. “Of course. I remember when we were touring in the Nineties, people would come up to me and still spoke of wanting to come to the US, to see Texas and see the desert, to walk around the Big Apple. The American Dream was still tangible, still desirable. Today, the American Dream is broken. I’ve probably travelled internationally more than our current president and the one thing I understand that he doesn’t is that the world isn’t as big as you think it is. It is all in your neighbourhood. India, Asia, Iceland aren’t other solar systems. I am ashamed of our president. I feel apologetic for it when I travel”.

He was asked about Nirvana and asked whether he still listens to the music he made with the band; whether he takes the time to dig back or avoids it altogether:

Even today, listening to Cobain’s music, for Grohl, is almost impossible. “I don’t put Nirvana records on, no. Although they are always on somewhere. I get in the car, they’re on. I go into a shop, they’re on. For me, it’s so personal. I remember everything about those records; I remember the shorts I was wearing when we recorded them or that it snowed that day. Still, I go back and find new meanings to Kurt’s lyrics. Not to seem revisionist, but there are times when it hits me. You go, ‘Wow, I didn’t realise he was feeling that way at the time’”

 

I would urge people to look at Dave Grohl interviews and spend some time listening to how he talks and how fascinating he is. The man tackles politics and society but he knows music like nobody else. There are very few musicians who are spellbinding when interviewed and match that on the stage. Grohl is an all-rounder who is always pushing boundaries and doing things differently – have a look at his documentary, Play, to get a sense of that! He is entering his sixth decade of life but it seems like Grohl is happy to play on and continue to reign. He is touring with Foo Fighters and the band will play Readings and Leeds later in the year. It will be a busy 2019 but I do hope there are times when Grohl can get behind the microphone. Whatever he is doing today and however he is celebrating his fiftieth birthday, it is a good chance to play some classic Dave Grohl and remind ourselves why he is so revered. Since the 1990s, he has been in our hearts and will continue to remain...

THERE forever.

FEATURE: A Meteoric Rise: Introducing Octavian: BBC’s Sound of 2019

FEATURE:

 

 

A Meteoric Rise

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IN THIS PHOTO: Octavian/PHOTO CREDIT: Ollie Adegboye  

Introducing Octavian: BBC’s Sound of 2019

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EVERY time the longlist comes out...

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 PHOTO CREDIT: Technique PR

regarding the BBC’s Sound of... I look at the artists and give them a spin. Previous winners of the poll include Adele and Sam Smith and, whether you like their music or not, it is clear the honour can help boost a career. Over the past few years, the winners have not made an instant impact but I feel like Octavian’s win could change that run. Artists such as Slowthai and King Princess were in the running to win the poll but it has gone to Octavian. It is rare to see a Rap/Drill artist get the nod so this makes it extra-special. I will quote a few articles to tell the story of Octavian and why his rise is unexpected and inspiring. The Guardian have documented the artist’s reaction:

 “On receiving the honour, Octavian said: “I knew that one day I was going to be successful. I get inspired and I try to make a new sound every day. It’s going to be a very loud year for me. Loads of music, loads of visuals, loads of albums.”

Rapping over genre-straddling production that touches on US trap, UK drill, grime and more, his rise has since been swift – Canadian superstar Drake was filmed rapping along to Octavian’s breakthrough track Party Here, and he was chosen by Louis Vuitton designer Virgil Abloh to model for a collection. He released his debut mixtape, Spaceman, in September...

“Octavian is not in any genre – he is absolutely in his own lane,” said BBC Radio 1 DJ Benji B. “The first couple of tunes he released into the world [Party Here and Hands] were some of the most futuristic, forward thinking, raw and inspiring tunes to come out of the UK in the last two years.”

According to Guardian pop critic Alexis Petridis, “His music exists outside the security of a scene or sub-genre – it carves out a space of its own, somewhere between grime, drill and trap, drawing in influences from beyond their confines. For all the vulnerability in his lyrics – he left home at his mother’s behest aged 15, a state of affairs that clearly left its mark – there’s a poise and self-assurance about his work that goes beyond the standard rapper’s bluster”.

Octavian’s 2018 mixtape, SPACEMAN, is filled with original direction and personality. It is not a hard album to get behind and marries Drill, Hip-Hop and Rap. There are U.S. influences in there but sounds of London and a little bit from other parts of the world. The voice that drives the track is very much that of a man who wants to remain for many years and stand out. It is clear Octavian is not playing around and is already showing a lot more endeavour and ambition than his peers.

When speaking with The Guardian before the release of his mixtape last year Octavian talked about his humble start and the challenges he faced:

 “Moving house no longer fazes him. Born in Lille in north-east France, Octavian moved to south London with his mother when he was three, but their relationship became strained. When he was a teenager, she sent him back to France to live with his uncle. They fought a lot, often physically, and after two years he was sent back to his mother. Knowing he wanted to pursue music, Octavian landed a scholarship to the Brit school – previously attended by Adele and Amy Winehouse – but soon grew disillusioned. “There were literally people doing backflips and singing harmonies in the corridors … it was not my type of thing,” he says. “I just don’t believe that you can teach someone how to be creative. As soon as you start teaching someone, they lose their originality.”

Evicted by his mother, he dropped out of school before finishing his course. Several years of homelessness followed. He tried to get a council house, but he didn’t qualify because, on paper, he was from France. “That’s just how life works,” he shrugs. “There’s bare things that come with being poor. I didn’t have the money to be English, but I was English, I was raised here, I went to school here … then you have someone telling you you’re not English enough? I hated those authorities.” But he says hetook those turbulent teenage years in his stride. “When you’re young, it’s cool. I didn’t have no money, but I still managed to eat, to live ... it wasn’t the worst thing in the world. Once you’re there, that is your life. You can only look up, because down there’s nothing left”.

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IN THIS IMAGE: The cover for Octavian’s mixtape, SPACEMAN/PHOTO CREDIT: Spotify 

It is amazing to think that anyone who has experienced homelessness could overcome that low and rise to become a successful artist. It is early days for Octavian but you can see how much he wants it and the fact he does not want to be defined. He cites artists like James Blake as idols: those who cross genres and are never willing to settle. I am not sure what happens from now but Octavian will want to get his mixtape on the road and he will be keeping busy. Octavian has joked in interviews there will be loads of albums this year but I think he will need some time for the dust to settle and plan his next moves. Consider the fact a lot of his teenage years was spent poor and unable to get about; it is amazing that that determination and passion for music has seen him through. There are few songwriters and artists who can right about struggle and actually draw from their own life. Octavian knew that there was a chance of success in the dark times and he held that belief strong. He stayed on a clear and straight course and, rather than sell drugs or turn to crime, he had that focus and knew what he wanted from life. That story is inspirational for anyone in a similar position; the fact you can make it and to hold on to that belief.

Octavian has done a lot of interviews after the BBC announcement and spoke to NME about his next steps:

It’s crazy, my phone’s blown up”, he tells NME on the same day that his victory is announced.

“It was bare surprising, I felt undeserving but it was great, man.”

The accolade sees Octavian joining previous winners including Sam Smith and Adele – and he’s keen to follow in their footsteps.

“It’s gonna be a very good year – to have my music out there and know that people understand my craft is very special. It’s gonna be great”, he explains.

And while a release debut for his debut album is yet to be announced, Octavian says that fans can expect it “very soon.”

“I am delighted that UK rap music has got such great placement in the list – Octavian is a truly original and exciting artist, pushing the boundaries of the genre and it’s great to see such a progressive artist getting such a huge accolade”.

It is clear 2019 is going to be a huge one for Octavian and he is going to take every chance he can. He has come a long way and there is talking about that debut album – even though there is a mixtape out in the world. It is an exciting time for someone who, at one point in his life, wouldn’t have imagined he could ever get to this point. Or maybe he did. It is clear, when talking about Octavian, the man never loses sight and is always...

 PHOTO CREDIT: @OctavianEssie

REACHING for the sky.

FEATURE: It’s No Secret: Kylie Minogue: A Pop Icon Who Will Always Inspire

FEATURE:

 

 

It’s No Secret

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IN THIS PHOTO: Kylie Minogue captured for her Specsavers eyewear collection shoot/PHOTO CREDIT: Getty Images/Press 

Kylie Minogue: A Pop Icon Who Will Always Inspire

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A lot of important moments will unfold in Kylie Minogue’s life...

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 PHOTO CREDIT: Getty Images/Kylie Minogue 

this year - more on that a bit later. I guess it takes a while for critics to warm up to iconic artists but there were a few, back in 1987, who were not 100% in love with Minogue. Her first singles, Locomotion and I Should Be So Lucky, gained great reviews but there were some who were not too hot. The latter track was released in 1987 but redone for a 1988 release – The Loco-Motion did not chart in her native Australia but was a hit around the world (her 1987 version was a number-one in Australia). It may make her sound old but I remember listening to her debut album, Kylie, when it came out. Granted, I was born in 1983 so I was only five when the album was released here in July 1988. Her songs had been out in the world the year before but the 1988 release was the first album from Minogue. The cover sees a young-looking and cherub-like artist who was sporting some rather nifty 1980s hair! I connected harder with Minogue’s music by the 1990s but one cannot overlook the Pop brilliance and catchiness of her early songs. I am in two minds whether her debut is her strongest early work or if that honour belongs to Enjoy Yourself. One of the things that galls me most is the sort of reviews the sophomore album received.

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 IMAGE CREDIT: Getty Images

A lot of snobby critics were harsh about the record and felt there were too many lightweight songs. I love both of her first two albums and there are plenty of cuts from the debut that stand up. I love I Should Be So Lucky and The Loco-Motion. They are some of the biggest hits of her career but you can throw It’s No Secret and Got to Be Certain into the mix! It is a solid record and one that announced this rare and wonderful talent. The Mike Stock, Matt Aitken and Pete Waterman-written songs provided a perfect platform for Kylie Minogue to shine from. The young artist was hungry and instantly popular and while it would be a few years before her finest album came along, she was producing these fresh and memorable songs. If some critics felt the songs on the record were a little light and simple; the sheer personality and verve of Minogue sold them. The follow-up album provided more hits and, in my view, saw Minogue strengthen as a performer. I listened a lot to the songs from Enjoy Yourself when I was a child and heard a lot of the songs, strangely, on family holidays in Britain. We would holiday abroad but it was the local holidays that introduced me to Minogue’s great songs. I would hear her songs on the radio and share them with friends but, by the time her second album came along, I was hooked.

I would not necessarily listen to songs like this now – the more sugar-sweet Pop songs of today are more aimed at young girls and a different audience – but  Minogue’s music remains universal. I love the subtle changes between her first and second albums. The covers are similar – by the second album, Minogue is a bit more confident on camera but sports a similar look. With big hits like Hand on Your Heart, Wouldn’t Change a Thing and Never Too Late starting the album in fine style, Enjoy Yourself is an appropriate direction to the listeners. I love the charm and the sense of fun through. The songs have a distinct personality and are not merely retreads of what was around in the late-1980s. Kylie Minogue sells and delivers everything with aplomb, style and grace. Rhythm of Love opened the 1990s in style and, in a year when the likes of Deee-Lite were adding a new spin to the scene, it was refreshing to hear Minogue taking some of the 1980s with her! That is not to say her third album lacks modernity and progressiveness. If anything, Rhythm of Love is my favourite album from the early stage of Minogue’s career. Soon enough, she would evolve once more...but I shall get to that soon. The Stock, Aitken and Waterman machine continued to crank out the solid hits!

What Do I Have to Do and Better the Devil You Know are instant classics but the song from my childhood I associate with Kylie Minogue is Step Back in Time. It is hard to compare her with any other Popstar at the time – including Madonna – and that is a good thing. Minogue kept Step Back in Time in her tour repertoire for quite a few years after its release and, with its infectious video, the song struck a chord and captivated the masses. As she moved through the decade – Minogue was producing an album a year – the songs became more diverse and the performances more solid. Let’s Get It On (1991) showed she could switch between emotions and the album saw a more soulful and interesting production shine through. Disappearing were the colour covers with Minogue smiling and projecting innocent. From 1991, her album covers were sporting black-and-white images where she was moodier and more alluring. 1994’s Kylie Minogue arrived at a time when music was at its strongest and most varied. Another Pop idol, Madonna, was ready to release her most mature and important album, Bedtime Stories, and Kylie Minogue was embarking on a new chapter. Minogue was stepping into new genres by 1994. Middle Eastern grooves and darker tones mixed alongside her usual disposition. 1994 saw her with a new label, Deconstruction, and it allowed her more creative freedom.

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 IN THIS PHOTO: Kylie Minogue in 1994/PHOTO CREDIT: Rankin

The Stock-Aitken-Waterman magic had dried up and she was looking for a new lease. Deconstruction allowed her to step more into Dance territory and songs such as Confide in Me sound completely foreign to the work she was putting out a few years earlier. A stylish, slick and experimental track; Confide in Me saw Minogue blossom and move in a way we had never heard before! It is a risk for any established artist to take a big step but others would – 1998’s Ray of Light was Madonna’s Minogue-like reinvention into Dance territory. I think Minogue was unhappy with her label prior to 1994 and felt that there was little room to move left and right. PWL were not willing to give Minogue the options and freedom she needed: things changed with Deconstruction and this meant her second phase was underway and a bigger critical success. Impossible Princess of 1997 had to adapt to the changing musical styles happening. Britpop was ending and guitar music from the U.S. was coming in more. Minogue’s sixth album kept the Dance template but there were softer moments and some Britpop-esque numbers. It was a perfect bridge between her older roots and what would arrive soon enough. Some were not instantly taken to the new direction but retrospective reviews were kinder and more open-minded. I think the fact Minogue co-wrote the entire album meant it was a more personal and natural recording.

When Minogue stepped into the 1990s, she was rising in fame but there were still a bit of her 1980s sound around. She would throw off those layers and increase her confidence soon enough but I was glad to see some of her debut magic remain in 1990. As she moved in 2000, she needed to release an album that started things off with a bang – Light Years remains one of Minogue’s finest and most daring around. We all know the Spinning Around video and those famous golden hot pants. To guys of my age – I was seventeen at the time… – it was a bit of a fantasy and I must have played the video to death. I love the song as well and it is a sort of left-turn back into Pop. One could detect the embers of her experimental albums and Dance but Light Years is a breezier and more airy offering than the previous two records. With Parlophone as her label, Minogue was joined by new writers and collaborators – including Guy Chambers and Robbie Williams – and she was (again) a co-writer on all tracks. Maybe there was some commercial disappointment before Light Years’ release but an artist like Kylie Minogue was not going to be deterred. Maybe it was timing or the fact the music industry had changed; whatever the reason, Minogue was at her most assured and consistent. There are plenty of highlights on the record – including Spinning Around and her duet with Robbie Williams, Kids – and the songwriting is solid.

In terms of genres, you get some softer tones and Dance groove; there are Disco and House splicings and it is amazingly strong record. The reviews that met Light Years’ release were among the most passionate and positive of Minogue’s career. AllMusic assessed the album like this:

In 1998, Kylie Minogue was dropped by dance label DeConstruction, and some thought she had committed career suicide. Obviously the backlash of 1997's Impossible Princess taught the diminutive Aussie one important lesson. Sometimes you have to just go with what you know -- go back to basics. And that's just what Minogue has done with 2000's Light Years. Symbolically dropping her last name from the cover, she re-enters the territory that made her great. Granted, with the teen pop movement at its strongest, one could say she just has good timing, but this work is leaps and bounds better than her Stock-Aitken-Waterman work. Light Years is not just another Minogue dance-pop record, but a great collection of disco stylings and Europop kitsch. "Spinning Around" is a fun and string-laden declaration that she may have made a mistake back in 1997, and the Robbie Williams/Guy Chambers-penned "Your Disco Needs You" is probably one of the best dance songs of the '90s. Arguably one of the best disco records since the '70s, Light Years is Minogue comfortable with who she is and what she's good at”.

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 IMAGE CREDIT: Getty Images

One would forgive Minogue for taking some time out but the popularity of Light Years – combined with touring commitments – meant there was little room for breath. One of the defining characteristics of Kylie Minogue is her warmth in interviews and her radiance. If she was under any strain you would not know about it. She is a constant source of sunshine and warmth and keen to promote her new album. Light Years was barely out of sight before 2001’s Fever arrived. The world was strained in October 2001 – this was a few weeks after the terrorist attacks on New York – and it was a hard time to release new material. If the 1980s albums covers from Kylie Minogue projected a singer sweetly smiling and in playful mood; by the 2000s, Minogue was this confident, in controlling artist – much more a complete product and star than a merely promising artist. Fever’s cover finds Minogue with microphone aloft, in the throes of a passionate song. Fever boasted plenty of epic hits. Not only was there Love at First Sight and Come into My World; Can’t Get You Out of My Head and In Your Eyes made it a truly essential album. Whilst Minogue did not co-write all of the songs, there were fewer cooks in the kitchen and, as a result, Fever seems like a more accessible, instant and simple album.

Over six-million copies of Fever sold worldwide and one can see the popularity of the record and how it changed Pop. From Britney Spears’ new dynamic to Madonna embracing Dance/Disco on Confessions on a Dance Floor (2005); it remains an influential album to this day and the very best from Minogue. I am not sure what was happening in Minogue’s life around the time of Fever but she sounds more comfortable, happy and inventive. Perhaps it was fresh love or new writers; a momentum that would continue or a moment when she felt truly safe in her own skin. Gone were the days of being directed by a label and having to fit into the charts. The legendary Pop artist – only thirty-three at the time – was showing the new breed how it is done! Maybe there was not as much depth as one would hope on some songs but the icon was in her thirties and she was determined to have fun and cut loose – able to show maturity and keen intellect on a number of tracks. Post-Fever albums would become less dancey and more sophisticated. There was no artist who could touch Minogue by 2003’s Body Language. X arrived in 2007 and the gap was explained by the fact Minogue was diagnosed with breast cancer in 2005. Again, this news and setback would floor many but Minogue battled and was back in sparkling form by 2007.

She was still carrying emotional scars but the music popped and sparkled. Savvy and passionate throughout; Minogue was committed to the material and invested in every breath. With a new lease of life and determined to keep on top of the world, 2010’s Aphrodite was a success. All the Lovers and Get Outta My Way are classic Minogue cuts and, with every album, she was embracing new sounds. AllMusic, again, nailed Minogue’s intentions and were very positive about Aphrodite:

This ability to tailor her performance to the song is a rare quality in the pop world of the early 2010s. It may lead people to underestimate Kylie's artistry but really, Aphrodite is the work of someone who knows exactly what her skills are and who to hire to help showcase them to perfection. She and her team have crafted an album that’s both full of songs that could/should hit the upper reaches of the charts, and also a collection of songs that hang together as an album. One of her best, in fact”.

Kiss Me Once, in 2014, was filled with songs about freedom, empowerment and new beginnings. Whilst not as big a shift as some of her previous albums, Kiss Me Once is another solid album and proof that there is no slowing Kylie Minogue. Perhaps the biggest shift of the past couple of decades came between Kiss Me Once and last year’s Golden.

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 IMAGE CREDIT: Spotify

That may be a bold claim but Minogue’s latest album saw her record a lot in Nashville; co-write all the tracks for the first time since 1997 and adopt new sounds into her music. There are Country and Folk touches and considering we were used to Dance, Pop and Disco, it was quite a strange thing hearing Golden. Minogue is always moving and exploring so it should have shocked few when she announced Golden. Minogue described the songwriting for Golden as a form of therapy and, whilst there are Pop and Dance moments, it is the new Nashville influence that results in some of the most tender and interesting songs of her career. I have been a bit narrow regarding Golden: there are plenty of styles working away and the record is a smart and assured offering. Minogue, once more, was leading the field and standing out in a disposable scene. A lot of new artists are generic and bland but, with Golden, here was an artist who could have compromised and played it safe – Minogue was always shifting and looking to break new ground. Dancing and One Last Kiss are songs that hit you when you hear them once but you will keep coming back. There were some great reviews but this one, from musicOHM, is glowing.

Radio On is a ballad about coping with heartache by listening to the radio, while the album’s final track – Music’s Too Sad Without You, a duet with Jack Savoretti– also touches on the importance of music as a place marker in life. Both tracks are downbeat and show a rare weakness, as her voice lacks the depth to carry them off with any great impact. Sad Kylie is much more effective when she’s dusting herself down and dancing her cares away… 

Just in case you weren’t sure who you were listening to, Raining Glitter is not only in the running for the campest song title of all time award, but also a career defining key change – it’s THE sound of Kylie. But on the whole her vocals are relaxed and she sounds at ease, at home. This is pop for the whole family. She’s done a Take That; created a grown-up, Radio 2-playlist, guitar-driven, dance-flecked album with a warm glow.

Golden stands alongside her classic records; in a world of disposable music, Kylie’s return is welcome and shows how slick, smart pop music should be done”.

That is a bit of a whistle-stop tour through the complete work of Kylie Minogue. I wanted to write this for a number of reasons. Not only has she been releasing music for over thirty years and continuing to shine; she is an icon who should act as a guide to new songwriters. She is still only fifty and there are many more years to come from Minogue. The Pop scene is becoming less interesting and more homogenised and a lot of artists are unwilling to dare.

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PHOTO CREDIT: Getty Images/Kylie Minogue 

Minogue started her days with a distinct songwriting team and, to an extent, controlled and directed by her label. As she stepped into the 1990s and continued to grow, Minogue would start taking more control and bringing about these huge evolutions. I feel there are very few icons around but Minogue is one of the last survivors. She has managed to adapt to the changes in the music industry and,, although there have been some minor albums and bumps, her popularity is unchanged and there is always demand for new Minogue material. I also wanted to talk about her upcoming slot at Glastonbury. She will play the ‘legends’ slot this year and it will be a great occasion for her to perform a career-spanning set. It might sound a little insulting calling someone a legend – if it age-related or dismissive – but the compliment is pure and just. There are few musicians around today who can be seen as a legend but Kylie Minogue definitely warrants that tag. There is huge ageism in music and the mainstream wants things to be shiny, accessible and undemanding. It is great having artists like Kylie Minogue to show how things should be done and rebelling against stiff demands. Now she is in her sixth decade, one wonders where she will head next and what her next album will contain. She has a lot of tour dates around the world and heads to Australia fairly soon.

Life has changed a lot since her 1987 debut but the hearts she has won...they cannot be counted! I remember listening to her as a child in the 1980s and early-1990s and was captured by these exceptional and catchy songs. Watching her grow and embrace new genres opened my eyes to new worlds. I was not sure whether a Pop artist could do that and had seen few evolve so consistently. The music side is impressive but Minogue constantly impresses in interviews. She has so much warmth and time for people and, if she has been uninvolved and distant at times, it does not show. So few artists manage to win you with their music and personality but Minogue strikes on both fronts. She is a fashion icon and her looks have wowed; her musical development is unabated and she is always looking to keep things moving. I might not be able to make it to Glastonbury but it will be a big gig for her and chance for thousands to celebrate a music legend. At a time in history when music is becoming more throwaway and we are always looking for that new thing and sensation...having Minogue as a constant and rock is refreshing. We might get bored of other musicians and not stick with them but, when it comes to the decades-ruling Pop queen, there is no way...

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PHOTO CREDIT: Getty Images/Kylie Minogue 

PEOPLE will ever grow tired of her.

FEATURE: The BRIT Awards 2019: Part Two: Things Get a Bit International

FEATURE:

 

 

The BRIT Awards 2019

IMAGE CREDIT: @BRITs

Part Two: Things Get a Bit International

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THE nominations have come in for The BRIT Awards...

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 IN THIS PHOTO: Christine and the Queens (Héloïse Letissier)/PHOTO CREDIT: Getty Images

and we have a lot of quality in the running! I have already looked at the best British male and female categories alongside the albums. I now move on to the final part of the feature – where we check in with the singles, videos and international artists. I think 2018 was a bumper year for music and so many great records came out. I feel British artists have helped define the year but so many international treasures have had their say. When the ceremony happens in a month, I cannot wait to see which artists walk away with the prizes. It is hard to predict who will win and that is part of the beauty: who can ever tell whether the expected favourite wins or an underdog steals the show! I have collated the final categories and everyone nominated. 2019’s BRIT Awards are more diverse than last year’s and (the nominations) cover a lot of ground. Here are the runner and, at the end of each category, I look at those I feel will walk away with the prize.

ALL IMAGES/PHOTOS (unless credited otherwise): @BRITs

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British Single

This is a really interesting and broad category and one that is hard to call. The same can be said of every category but the singles market is full and frantic. It is hard enough narrowing down to a shortlist let alone predicting who the winner will be. There are ten names in the list and there are cool singles from Anne-Marie, Calvin Harris and Dua Lipa; Clean Bandit (ft. Demi Lovato), Dua Lipa, George Ezra; Jess Glynne, RAMZ; Rudimental (with guests), Sigala and Paloma Faith and Tom Walker. I think there is a lot of quality in the running but there are two British singles that stand out. Calvin Harris and Dua Lipa streamed by the bucket-load with One Kiss and Dua Lipa ruled with IDGAF. Jess Glynne might win with I’ll Be There and there is an outside shot with Tom Walker. I think it will be hard to predict but that is because there are two or three very strong songs. It will be between Dua Lipa and the Calvin Harris/Dua Lipa blend. In any case, it seems like Dua Lipa is in with pretty good odds! She has been overlooked in a lot of categories and this is her time to shine. She did win big last year so it is not that shocking she is nominated less this year. I think the singles market is an important one and we tend to think everything is about albums. Maybe, in fact, singles are more important than albums and the British crop are standing apart.

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 IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: @DUALIPA

Predicted Winner: Dua Lipa - IDGAF

International Male Solo Artist

The BRIT Awards is not only about British artists. That might sound odd but you cannot have an award show that just focuses on the one nation. I like the international categories and think some of the best winners are taking from them. That is not to say British music lacks compared to nations like the U.S. but it is good having that diversity. Drake has been in the news for the wrong reasons recently but his album, Scorpion (2018), proved popular with fans and critics. It might not be his finest work but Drake’s popularity means he will be among the favourites for the award. Kamasi Washington is a welcome addition to the category and feel that The BRITS is diversifying in terms of genre. Including a Jazz record/artist is a big step and I feel like Washington will be in with a shout. Heaven & Earth is a remarkable record and I feel Washington created one of 2018’s very best. Eminem has been busy in the past year and his most recent album, Kamikaze, was a quick response to 2017’s Revival. Shawn Mendes and Travis Scott are nominated and might be worth an outside bet. I do not feel either will win the award but the fact Mendes’ eponymous scored well with critics might put him in the running. It is going to be a tight call between Kamasi Washington and Eminem but it will be interesting seeing who gets the actual award. I have my own idea...

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IN THIS PHOTO: Eminem/PHOTO CREDIT: @Eminem

Predicted Winner: Eminem

International Female Solo Artist

Like the British equivalent; I love the female category because I think there is more diversity and quality to be found. I cannot believe how quality-laden this category is and it is probably the hardest one to predict. It has been a great year for Christine and the Queens and Janelle Monáe. The former released Chris and it is a remarkable album! I love the record and it is one of the very best of 2018. I think she will win the award but Monáe’s Dirty Computer was another big album. Monáe has been announced for Glastonbury whereas Christine and the Queens have been touring heavily. Cardi B produced Invasion of Privacy last year and it was another stunning album. I feel that record put her ahead of peers like Nicki Minaj and she has definitely stepped up her game. Camila Cabello is not to overlooked and her 2018 album, Camila, is a wonderful thing. It is full of fresh rhythms and instant songs. It might be worth putting some money on her but I think it will be between two names this year. I like the fact Ariana Grande has been recognised and many argue she made the biggest impact to music last year. It has been tough in many ways but she responded with excellent music. Sweetener was another big album from last year and one that sparred with the biggest Pop offerings. This is a really important category and one that will be watched very closely.

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Predicted Winner: Christine and the Queens

International Group

In terms of sheer scope and variation, this is a hard one to beat! Again, like British groups, there is a lack of big guitars and anthemic choruses. That is not to say music has gone in the wrong direction but it is clear other sounds are making ground. Twenty One Pilots have been booked for Readings and Leeds this year but I do not think they will win this award. Nile Rodgers & Chic are an unusual inclusion but I think it is worthy! It’s About Time was the last album from them and was a great addition to last year. I think The BRITS have lacked diversity through the years so including some Funk and Disco-styled music is a good thing. It will be down to three names when it comes to taking away this award. BROCKHAMPTON released iridescence last year and it was one of those underground albums that did not get the exposure it warranted. The reviews it did pick up were warm and encouraging and I would not be shocked to see BROCKHAMPTON win this prize. The Carters and First Aid Kit will be the ones to watch. EVERYTHING IS LOVE was the collaboration between Beyoncé and Jay-Z and had a lot of expectation on its shoulders. It is not as fine as each artist’s best solo works but it is a passionate and tremendous record. I do not know whether The Carters cannot be considered a ‘group’ but I would like to see the duo walk away with the award, maybe. First Aid Kit are a favourite of mine and they are worth watching. Ruins was a great album from them last year and completes a very eclectic award category!

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IN THIS PHOTO: The Carters/PHOTO CREDIT: Getty Images

Predicted Winner: The Carters

British Video

There are some repeats from the single category so it would not be unexpected to see the winner of one win the other. Anne-Marie’s 2002 gets another nod as does Dua Lipa for IDGAF and One Kiss (with Calvin Harris). I like the Dua Lipa videos but feel that they are not as memorable as the singles themselves. Maybe it is hard to translate the songs into inventive videos but they are not bad by any stretch of the imagination. I think Anne-Marie is in with a better shout and 2002’s video stands up on its own feet. It might not be the best video of 2018 but it is a very solid one and I think she stands a very good chance. This year’s awards is recognising, in singles and videos, collaborations. Jax Jones and Ina Wroldsen united for Breathe and its video certainly accrued a lot of views. Jonas Blue and Jack & Jack united for Rise but did not provide the best video around – I do wonder whether there are better videos that could have made the cut. A more appealing and engaging video came from Liam Payne and Rita Ora. Although the single, For You, is not especially terrific, the video is stronger and at least provides a bit of interest. This category is heavily weighted to the Pop end of the spectrum and the inclusion of Little Mix and Nicki Minaj for Woman Like Me is no shock. Rita Ora’s Let Me Love You video is better than the effort with Liam Payne. I think it will be a close call between her video and that from Anne-Marie. Rudimental’s These Days is a strong video but I cannot see it winning the award. The video category is important and the dominance of Pop shows what the voting panel are interested in. I have a couple of names in the top spots but I feel Anne-Marie will win it.

Predicted Winner: Anne-Marie – 2002

FEATURE: The BRIT Awards 2019: Part One: Ladies, Gentlemen and Brilliant British Albums

FEATURE:

 

 

The BRIT Awards 2019

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IMAGE CREDIT: @BRITs 

Part One: Ladies, Gentlemen and Brilliant British Albums

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THE nominations have come in for The BRIT Awards...

 IN THIS PHOTO: Anne-Marie has been nominated for four BRIT Awards (including British Female)/PHOTO CREDIT: Spotify

and there are some great names in the list (the ceremony takes place on Wednesday, 20th February). Past years have seen many criticise the rather Pop-orientated nature and the fact that it seems to reflect what’s in the charts and nothing else. I do wonder how much we pay attention to music award shows and whether they hold the same weight as they used to. Maybe some are homogenised and it can be quite galling seeing the genuine best overlooked in favour of something more commercial and Pop-facing. I agree that The BRITS have suffered from that single-minded attention to Pop and not really diversified. The past couple of years have rectified this and we are seeing improvement. This year’s nominations are available for all to see and showcase a diverse mix of artists and tastes. It is interesting to see how the award show has grown the past couple of years and the fact the outlook is a lot better. There are a range of categories and I already have my feelings regarding the best and brightest. I shall provide some predications regarding each award but feel that all the nominated acts deserve their place and it good to see The BRIT Awards reflecting a diverse music scene and drawing attention to a wider range.

ALL IMAGES: @BRITs

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British Breakthrough Act

I feel like this category could widen a bit and you could throw a few more names into the mix! The five names nominated this year are IDLES, Ella Mai; Jorja Smith, Mabel and Tom Walker. I feel like it has been a great time for new artists and we are seeing more and more terrific sounds flood the market. I think Ella Mai has had a great year but do feel like her time is around the corner. Her eponymous album was released last year and received some warm praise. I like the sound she is producing but feel that her best work is a couple of years away. She is one to keep an eye out for. I think Jorja Smith is more formed and seems like she has hit her stride right away. Her Mercury-nominated debut, Lost & Found, scored some big reviews and, while there are nods to Amy Winehouse in the vocals, she is an original artist who is producing some sumptuous, fantastic and soulful tracks. She is a British star that will continue to make music for a long time. Mabel and Tom Walker have both had great years (2018). Mabel’s Ivy to Roses (Mixtape) drew in a few collaborators but the abiding and standout voice was hers. You would not expect anything less from Neneh Cherry’s daughter and I feel like Mabel is one of those artists who will forge her own path and build a huge fanbase. Tom Walker has released a few singles and has an intriguing sound. His recent track, Just You and I, is full of life and energy and I think Walker will enjoy a long career. I think IDLES have had a sensation past few years. Their debut, Brutalism, came out in 2017 and was denied of some much-deserved awards. Last year’s Joy as an Act of Resistance. scored massive love and their tour demands are through the roof! The band has a lot of dates coming up around the world and they are storming it right now. Their album reflected the sort of tensions we all have and delivered big messages with plenty of heart and humour.

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Predicted Winner: IDLES

British Male Solo Act

This is a hard one to call and there is definitely a good mixture in there! I think Aphex Twin have been around a long time and it would be unusual to see them win the award. I am not sure whether the panel are looking for the best British artist from the year (2018) or looking to address those who have the most potential. I love Aphex Twin and their Collapse EP received a lot of new love. It is a fantastic work but not as good as their classic output. It would be good to see them win, mind. Craig David and George Ezra are nominated and they have both produced great work recently. Ezra’s album, Staying at Tamara’s, proved popular and seemed like a maturation. I am not a huge fan of his but think his popularity is well earned and he is someone who can produce simple and charming songs that get under the skin. Craig David is another one of those established acts and released The Time Is Now last year. The man has not put out a great deal of work the past few years but he is definitely back on the scene and has always had a place in the market. I like the fact he has not repeated the sound of his early days but definitely has retained that core. Giggs and Sam Smith seem more likely to win the award. Smith released his last album, The Thrill of It All, in 2017 and has been busy since then. Wamp 2 Dem was Giggs’ last album back in 2017 so, although neither has released albums in 2018, they are definitely in the mindset and big artists. This will be a tough category to call and there is a great variation in there. I like the mix of established acts and newcomers and it will be good to see the award go to legends like Aphex Twin – I do not feel they will scoop it. It is a good award for a British male to win because it will aid their career and see them gain a new audience.

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Predicted Winner: Sam Smith

British Female Solo Act

This is a category I am more invested in and I am always keen to highlight fantastic female artists. Many assume the best female acts are American but it is obvious we have some great talent in this country. Two artists who have been nominated before are Anne-Marie and Jess Glynne. Speak Your Mind was released late last year and scored great reviews. It is her most confident and rounded work and many noted a maturity and rise in quality. Anne-Marie has produced great music since the start of her career but it seems like she has hit her peak form. Given the big reaction to her album, would you count against her winning the converted prize?! Many might be confused by the fact Dua Lipa – who won the award last year – is not included. Jess Glynne’s inclusion is understandable because she continues to score big hits and reign. Always In Between was released last year and got some fair praise. Whilst not as strong as some of her other work, it is a solid album and had enough quality in there to keep her fans happy. Jorja Smith is back on the list and feel she could turn heads at The BRITS next month. Certainly, she is very different to the Pop names who have won in the past and the fact she was nominated for a Mercury last year means she has the backing of the industry. I am not shocked to see a fellow Mercury nominee Lily Allen in there. She is always in our minds and last year’s No Shame talked about personal struggles and really delved deep. Although Allen missed out on a Mercury, could this be rectified by The BRITS?! I feel, given her reputation and past work, you can never bet against her. Again, another Mercury nominee is on the list – in the form of Florence + the Machine. It makes things tough to call and I feel this category will be one of the very hardest to predict. I feel there is more strength in the female category (compared to the men) and this is really tricky. I love Florence + the Machine and always buy her records. I do wonder which way this award will go and whether a more mainstream artist like Jess Glynne is preferred over someone like Jorja Smith.

Predicted Winner: Jorja Smith

British Group

This is another eclectic and interesting category. I think there are some great British groups but many say it is solo artists dominating right now! That said, we have some established artists in the running. Gorillaz will be among the favourites to win this and after releasing The Now Now last year, they have fresh material out there. I feel this album is one of their stronger works so it means one could easily see them winning the award. Talk about a rise in popularity and The 1975 are in your mind. They released A Brief Inquiry Into Online Relationships late last year and it was one of the contenders for the best album of 2018. I feel the sheer celebration that record received will tip the scales their way but there is a lot of competition. Little Mix continue to put out interesting work and have recently spoken out against body-shaming and Piers Morgan. It is clear they have a strong voice and are keen to say something important through their work. Last year’s LM5 gained respectful reviews and it is a potent Pop album. Years & Years are a great band who continues to grow so I do wonder whether this will be their year. Last year’s Palo Santo scored big respect and it would be good to see that translate into awards. Many will have their own opinions but there is that split between the more commercial Pop side and artists like Gorillaz. One notices the lack of guitars in the line-up and I do wonder whether tastes have changed and we will see a return to the past. I like the fact band music has changed but am concerned there is a lack of great guitar bands in the country. Arctic Monkeys are also nominated and last year’s Tranquility Base Hotel & Casino did get a Mercury nod. I think they are one of the best bands we have in the country but wonder whether their slight change of musical direction will affect their chances. Their latest record is terrific but many were divided and felt it was not as rewarding and great as their classic records.

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Predicted Winner: The 1975

Mastercard British Album of the Year

Aside from the corporate sponsor attached to this award – I guess Hyundai sponsoring the Mercury is no different! – it is a great category! The 1975’s A Brief Inquiry Into Online Relationships faces Anne-Marie’s Speak Your Mind; Florence + the Machine’s High as Hope goes against George Ezra’s Staying at Tamara’s and Lost & Found from Jorja Smith. I like the fact there is consistency and we are seeing the same artists appear in different categories. It means there is a consistency but I wonder whether overlooking the Arctic Monkeys is wise. I guess you have to draw a line but it is still a rich and interesting category. I feel like the outsiders will be George Ezra and Jorja Smith. I would love Smith to win and feel her album is incredible but there are three names that stand out. The 1975 got a lot of focus with A Brief Inquiry Into Online Relationships and Anne-Marie’s latest record is her best. Florence + the Machine continue to produce fantastic music and Florence Welch is one of the best songwriters in the country. It is another tricky award to call but I do think there is a clear winner. Whoever wins the award, it shows there is a varied and great scene in Britain and our best artists are stepping up. I do like the fact that The BRITS are recognising female artists more and the fact the majority of the names in this category are female is a good shout. This category will be hotly-contested and I feel like the bookies will struggle to decide. I feel there is only one who can win this one, mind...

Predicted Winner: The 1975 – A Brief Inquiry Into Online Relationships

TRACK REVIEW: The Lottery Winners - That’s Not Entertainment

TRACK REVIEW:

 

The Lottery Winners

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That’s Not Entertainment

 

9.6/10

 

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The track, That’s Not Entertainment, is available via:

https://www.youtube.com/watch?v=yPjrQOjof3Q

ORIGIN:

Manchester, U.K.

GENRE:

Indie-Pop

RELEASE DATE:

9th November, 2018

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ONE topic that springs up when I review a rising act...

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is the need for more information and input! This is the only constructive criticism I have regarding The Lottery Winners but they are rising and need to take it to heart. I will mention bands from the North and why Manchester always thrives; bands that can rule and have had that backing; great chemistry in the ranks and how that aids the music; unusual influences and why I welcome that – I will end by looking at the future for The Lottery Winners and how this year will go. To start with, I want to see more artists give more information to their fans. There is a school of thought that says, if you are new, there is not much to give and you want to let the music fill in the blanks. I admit that the music needs to guide and do the lifting but journalists and fans still like to know where someone comes from and what music they are inspired by. When reviewing Sharon Van Etten yesterday, I had a press release attached and it gave me a lot to go from. I know she is a big artist but anyone can assemble a pack that talks about a song’s background and how the band/act came together; where they hope to head and some personal background. It is not too revealing providing some information regarding where you are from and what you are about. I pitched an interview to The Lottery Winners but they never got back so do not have insight and revelation I can put into the review. Given a lot of reviews are just simple and short pieces, I feel more musicians need to think about providing something substantial and helpful. In the case of The Lottery Winners, they have great reviews we can see on their social media but what of the guys themselves? I would like to hear about their start and how songs come together; a bit about inspiration and how songs come to them.

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I love their music but do not have a lot of other information to build a review around. It is a problem that affects a lot of artists and I can understand why some would want to hold stuff in reserve. If you are too bold and wordy then it means people have that impression and do not value the music the same way. There is middle-ground where you can provide some information for fans and the media and still allow the music to do the bulk of the work. I hope more artists amend this in 2019 and understand that there is a desire to find out about them and get a sense of who they are. In a competitive and hectic industry, I think that attention and addition will make a big difference. I am hoping the interview comes back from The Lottery Winners because their music suggests a fun and original flair – I wonder if this translates to conversation and what the guys do away from music. The Lottery Winners have great music behind them and they have some cool photos available. This is pleasing to see but I still hanker to discover more about the northern band and how they all found one another. I think there is a lot about them to recommend and it is clear many people are falling for The Lottery Winners. They are from different parts of the country but Manchester/Greater Manchester is where they base themselves. I have always been a fan of music from Manchester and feel artists there do it differently; there is something about them that stands out from the pack. The Lottery Winners definitely have a distinct flair and direction about them. I hope, going forward, they put a bit on their social media pages regarding their home and how music came to them; how they plan on moving forward and how a song like That’s Not Entertainment came to be. Whilst I do not need to know the story of the track, a little bit about the music in general would aid my opinions and would provide a bit of colour and truth regarding the group.

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I have mentioned the North and how music differs there. I think there is all this attention paid to London and, whilst I bring this up a lot, I do feel like the spotlight needs to point in other directions this year. I can understand why we keep focusing on London: so many different stars are being made here and there is so much going on. It is a busy city, for sure, but that does not mean everywhere else is inferior and quiet. Manchester has always thrived and been an essential cog of the music machine. Look back as far as the 1980s and you can see how Manchester acts have inspired what we hear today. I have visited Manchester a few times and feel there is something special about the city that keeps musicians rooted and leads to very cool music. I think London is full of interesting people and the music can reflect that diversity. More often than not, I am sensing something a little anxious about music from London. So many people I talk to from here are feeling the strain of daily life and it can be hard separating that from the music. You want to be truthful and reflect what is going on in your life and, more often than not, we get something that has tension and a sense of fear. That might be all-sweeping but you can definitely see a split between artists in London and those in the North. I think there is more wit, story and personality in music from Manchester. I am not suggesting London lacks personality and charm but you tend to find a higher percentage in Manchester. Look at The Lottery Winners and they are your typical example. They love fun and want to ensure the music makes you feel better. I am sure they have the same problems and stresses as everyone but it seems their natural environment is a lot calmer and more inspiring than it would be if they were in London. Maybe that is a bit rash but I cannot see them moving anytime soon.           

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What is it about the North that leads to original music? I have met a lot of people there and there is more time for communication and conversation. You can always expect to find a friendly face somewhere and that simple thing can inspire music and a human in general. If you are bustling and rushing through a city then it is hard to reflect and take the time to sit and rest. Manchester is busy and popular but one gets a different vibe there. More easy-going for the most part and, when you get to know the people, their stories and humour can really lift you. For a musician, having that at your feet is invaluable and I can tell The Lottery Winners are comfortable where they are. Maybe it is not as simple as saying northern artists are brighter and more optimistic but I can always rely on a certain wit, colour and brightness when I investigate acts from Manchester. At the very least, you get something fresh and exciting. The Lottery Winners occasionally look inward feel the pinch but they are more concerned with projecting a vivacious and multifarious canvas. I have listened back to their previous tracks and there is a distinct sense of adventure, energy and brightness about them. I feel the cynicism of the world will not change their demeanour and they will continue to write these classy gems. I think the media, if they want to discover artists bringing the joy, need to look further north and investigate Manchester more. I feel the last bold and nation-uniting movement that came from music, Britpop, was northern-led and we need to recapture that sense of togetherness and hope – even if you think Britpop was a fad and fake, you cannot deny there was some epic music from that period in the 1990s! I would like to know more about The Lottery Winners and how the guys’ music comes to be. Maybe they will disclose a bit more later this year but, right now, people are falling for the music.

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 PHOTO CREDIT: @samanthajguess

I have read the reviews The Lottery Winners have garnered and they are all very positive. I have been obsessed with solo artists the past few years and it has been a tough time for bands. There is this never-ending divide between the mainstream and the underground. I mention this a bit but it is interesting to see the different layers. Look out at the charts and the big scene and most of the music coming through is from solo artists. A large percentage of the best albums of 2018 were from solo acts and there was not a lot of band influence. That is very different when you dig deeper and look at the artists coming through. Maybe there is still a weight of solo artists but I am seeing some terrific bands emerging. The Lottery Winners are definitely needed in the mainstream right now. Many have damned the Pop market and claim it lacks feeling, substance and longevity. Maybe there is that demand for music that is quick and easy to understand. Often, we like our sounds quite uncomplicated and catchy. Perhaps bands deal more with something a bit heavier and there is not quite the demand for their work right now. What I am finding with a lot of mainstream bands is the fact they lack a real spark and sense of identity. There are so many recycled sounds and not that many who genuinely go down their own path. As I stated when reviewing Leeds’ allusinlove recently, it seems the underground band market is in safe hands. The Lottery Winners have a distinct style and passion that could help bring about a revival and improvement. It might take a few years until we see the solo hegemony end but I think we do need more balance in the mainstream. The fact The Lottery Winners have the ear of stations like BBC Radio 6 Music – as I shall explain later – shows they are doing something right. How does a band manage to get from the underground and emerge in the big leagues?

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 PHOTO CREDIT: @BBC6Music

It is clear it takes more than good tunes to make that happen. I feel a committed social media presence is needed and putting your music out as much as possible. By this, I mean bands need to keep sharing their music and update fans as much as possible. You do not need to keep releasing songs but do not leave a big gap between releases. The Lottery Winners have ticked all the boxes and they are keen to update their fans all of the time. We get a real bond with them and it makes it a lot easier to follow them and stick by them. I feel so many artists leave gaps between communication and it is hard to find out what they are doing. If you have a great act that keeps you in mind and does not leave this big pause then you are more committed and invested. I think there is a great relationship in the band that comes out on the screen and in their music. Maybe it is harder to resonate as a band because, in many ways, it is easier to bond with a solo artist. It is an easier and simpler relationship and solo acts can easily get into the heart and speak to you. Bands, largely, find it harder to be personal and deliver music the same way as solo artists. This is my opinion and you might have a different take. It is clear that a successful band needs to have faith and trust working through everything. Look at bands such as IDLES and you just know the fellas are great friends and they have that unbreakable connection. I have heard so many bands that fail to register because every member seems to be on a different page. Listen to The Lottery Winners and you just know they have nothing but respect for one another. It comes out in their music and that makes you stick by them and see what comes next.

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I think chemistry is important and you need to be a solid unit. Music is a difficult business and it is even more stressful now. If you are a band like The Lottery Winners, friendship and solidity is vital. The band specialises in sweeping and big songs and you need to commit to them. If there was any tension or struggle in the ranks then it would be harder to sell those songs. I do like the fact that there are these promising bands coming out that have a deep respect and affection for one another. I think it is harder being in a band compared to life as a solo artists and it is easy to get under each other’s skin in a bad way. If you have that mutual respect it makes the songwriting process smoother and means the music is much more natural. I love The Lottery Winners because they are connected solidly and you just know the songwriting and rehearsal sessions are full of laughter and fun. I think the future is very rosy for the band and they are definitely filling a void right now. I don’t know when the change occurred but I definitely recall when the music scene was a more positive and upbeat place. Compared to what we have today, one could find music that got the heart pumping and made you feel better. More and more, it is harder to discover that sort of bliss and much-needed bliss. One might say society now is more anxious and we are all obsessed by technology – less connected to one another and more stressed as a people. I keep saying it but music needs to be somewhere one can escape to and give us a distraction from daily life. If we have a mass of artists who are mirroring the strain and unhappiness around us then how is that going to make us feel? It would be impossible to demand that every artist cheers up a bit and produced sunnier music but we definitely need to promote those artists that understand the problem – this is where The Lottery Winners come in.

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I will end by looking at their backing and how the critics are receiving them. In terms of where they come from, musically, there is a lot of the North in them. I was delighted to discover a band that had elements of The Housemartins and The Beautiful South in their D.N.A. One can also hear the jangle of The Smiths and it is very clear The Lottery Winners keep the North close to them. One can hear some southern tones but it is the classic songwriters of the North that direct what they do. I wanted to mention influenced because it can be important when it comes to understanding an artist. I always delight in being able to mention The Beautiful South whenever I can. The reason so many have noted a link between The Lottery Winners and The Beautiful South is because of the wit and the  catchy choruses; the fact both bands could make you smile and produce quintessential Pop music – the sort that makes you feel better but can provide a bit of bite here and there. I miss The Beautiful South and feel they never got the respect they deserved. Led by songwriter Paul Heaton, we all know at least a few of their songs and grew up around their music. I love the way Heaton (and composer Dave Rotheray) could articulate the less glamorous and more realistic sides of domestic harmony and relationships. Heaton was masterful when talking about the mundane and familiar; the sort of horrors that lurked behind closed doors and things most songwriters were not discussing. We have not really seen a replacement for them and it is a shame so many songwriters feel writing about love needs to be a draining and harrowing thing. Where are those that artists that add some wit and story to the blend? I long to hear bands that articulate the wit and worldview of The Smiths and can pen those classic tracks like The Beautiful South did.

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The Lottery Winners, whilst not in the same league as them, have a similar ambitions and attitude. You can tell they are tired of the same songs that address the same things. Rather than follow everyone and hope to get to the mainstream but being samey and common; the band provide a lot more sparkle and intrigue. You listen to a song like That’s Not Entertainment and, aside from the rewording of a Jam song, there is so much to unpick and become hooked by. There are few bands that deliver solid and uplifting songs and I think we all need to spend a bit more time with The Lottery Winners. The guys have been backed by BBC Radio 6 Music and D.J.s such as Chris Hawkins rank among their fans. I feel that sort of backing is impressive and rare. I am not suggesting BBC Radio 6 Music are the only station who matter but they are not interested in the commercial and cheap. Instead, they look out at the music world and are keen to support musicians who are different and place quality over popularity. I shall move onto the new song from The Lottery Winners but, before then, a bit about backing. I have read great reviews that all seem to say the same things about the band. People are noticing the jangle and the fun; the fact the songs get into the head and stay with you. Maybe it is a northern thing but many have been charmed by the wit and verve of The Lottery Winners. I hope the guys continue down this road and do not let the rather pessimistic and bleak shadow so many are under come their way! I think it is right to look at a song that came out late last year. That’s Not Entertainment points at great things and shows that, with every release, The Lottery Winners are more assured and ambitious.

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The first moments, as I keep saying, of any song are vital and you need to bring people in. They say we tend to turn off and make a decision about a song after only a few seconds. I fear for those who slowly build a song and rely on a listener sticking with things for longer! The Lottery Winners are masterful when it comes to hooking you right away. One gets a nice jangle and spirited swagger to the first few seconds and a declarative vocal that drives the song forward. Strangely, I get impressions of Smash Mouth (their hit, All Star, comes to mind) when listening to the melody and delivery. Maybe the U.S. band was not in the mind of the Manchester clan but we can hear a bit of them. Our hero steps to the microphone and confesses this: nothing on the radio means that much to him. A lot of songwriters have talked about the absence of quality on the radio – including Nelly Furtado – and it is, sadly, a subject that has plenty of ‘inspiration’ – the mainstream has not become much stronger or more varied lately! You wonder whether the song will be an attack on the state of commercial music or whether the band have their tongues firmly in their cheeks. I definitely get a flair of Smash Mouth and, rather than discuss confidence and pumping up the senses, The Lottery Winners look at those who are proferred by big labels and stations. If you are good looking then that does not mean you are better than anyone else. One wonders whether artists like ZAYN and Harry Styles are being revealed: the sort that is quality-lite but have a distinct look and appeal that pre-teen fans love. The song, despite some sharp-tongued directions, is light and has a conversational style. It seems these stars are being taken for fools and are being guided by labels that want a lot of money and do not care about the quality.

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I love the blend of sounds that seems to unite the early days of The Beautiful South but there is a bit of U.S. Rock to be discovered. It is a big and impressive sound and one can understand why so many critics have been raving about The Lottery Winners. The band seem to share the same attitude as me when it comes to talent shows: they are bubblegum and exploit those who want their fifteen minutes and have sob stories to tell. Look at the T.V. schedules and we have inane dance contests on BBC and singing shows all over the place. All of them lure in the lightweight and slight who only have minor talent and do not have the worth and substance to remain and inspire. It is not new attacking these outlets but The Lottery Winners do so in a fresh way. Their always-light and affecting charm means you are never uncomfortable and feel anxious. It is great to hear that catchy and fantastic sound give the song a freshness and audible smile. Balance that against the cynical words that wonder whether there is much treasure to be found on the radio and on the T.V. Maybe The Jam did not have ideas that, years after That’s Entertainment! Was released, there would be this sly retort. I am not sure what the original was inspired by but the music scene has changed since 1980. The static and white noise we are subjected to is getting boring and we are looking around for some light. The band throws in guitar stabs and wonderful accents. It keeps the song alive and appropriately interesting. It would be bad to hear a song that rebels against the bland if the song itself was the same – The Lottery Winners have produced a fine and epic song that gets you pumped. That’s Not Entertainment is a song filled with spritz and excitement. One can stand by the song’s messages and ethics. You will find yourself nodding your head and singing along to a song that brings the fun but conveys a serious message. I wonder whether the messages of That’s Not Entertainment will run off on the artists being accused!

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I have discussed The Lottery Winners from different angles and covered them quite well. I do hope the band put more online regarding their story and make sure they share as many interviews as possible – let’s hope they get mine back to me soon! That’s Not Entertainment is a solid and interesting song I was keen to review and, although a bit late, I wanted to take the time and do it justice. 2019 has not been with us too long but I know the band are planning ahead and seeing what is coming. I do hope there is more music afoot and they take their tracks on the road. I am not sure what they have planned regarding tour dates but they will cover the North and do as much at home as they can. I am looking at this year and seeing what sort of artist will define things. I think The Lottery Winners are worth keeping an eye out for and following. They have a good link with their fans online and they produce a wonderful live show. I would like to see them play further south and I do hope they have quite a few gigs lined up. I am sure there will be an E.P. later in the year and it is an exciting time for them. A lot of artists are making early bids regarding singles but it might be a couple more months before we start seeing big albums arrive. That is a weird thing with music. How many great albums, from history, came out in the first couple of months of the year? It seems like most of the classics, from recent times or the past, arrive later in the year. This is just me musing but I feel The Lottery Winners should be thinking about an attack around March; lining up some dates after that and readying themselves for the festivals. I love what they are putting out right now and, if you have not discovered them, ensure you...

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CORRECT this right away.

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FEATURE: Love, Simplicity and Racial Revolution: A Reign Supreme: Motown at Sixty

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Love, Simplicity and Racial Revolution

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IN THIS PHOTO: Diana Ross & The Supremes outside Hitsville U.S.A. in Detroit, MI in 1965/PHOTO CREDIT: Art Shay

A Reign Supreme: Motown at Sixty

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A lot of genres and eras in music come and go...

 IN THIS PHOTO: The Marvelettes scored Motown’s first number-one on the Billboard Magazine Hot 100 with Please Mister Postman on 11th December, 1961/PHOTO CREDIT: Billboard

and we are never that bothered. I still miss Disco and Grunge but realise the former was maligned by many and the latter was part of a specific time in history. We still have bits of both these genres existent today but music trends and waves come and go. It is right to celebrate their births and mark their anniversaries. There are few times in music more important than Motown. What I mean is the start of Motown is one of the most important in music history. Sixty years ago today, this wonderful and hugely instrumental brand came along. It is hard to know whether Motown was a genre, label or phenomenon. I guess it is a bit of all three but, in any case, 12th January, 1959 saw something truly exceptional occur. Many were not expecting something so wonderful and fresh at the end of the 1950s. The decade did see artists like Buddy Holly and Elvis Presley shine but I associated that decade with some good Pop, Doo-Wop but few standout moments. The 1960s provided greater strength and genius and Motown sort of arrived at the right time. Not only did Motown play a vital role when it came to inter-racial assimilation at the time but it was the first time an African-owned label gained mainstream acknowledgment. Before then, there was a dominance of white labels and genres: Motown changed everything and helped bring about social change and important integration.

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 IN THIS PHOTO: The Miracles (among their string of Motown hits was 1961’s Shop Around)/PHOTO CREDIT: Getty Images

Motown built off of Pop and Soul and sort of blended them together – it gained remarkable success for a small label and had seventy-nine records in the top-ten of the Billboard Hot 100 between 1960 and 1969. We look back at the 1960s and associate it with bands like The Beatles, The Beach Boys and The Rolling Stones. We think of Bob Dylan and a lot of artists that cover distinct genres – Folk, Pop and Rock. We all know about those epic 1960s-released albums and the artists who defined the time. Berry Gordy Jr. established the Motown label but could not have imagined the success it went on to have and the fact that people would be talking about it sixty years later! Detroit is not short of musical genius – given the Garage-Rock movement and how many artists come from there – but Motown is synonymous with the Michigan city. Gordy relocated to L.A. after the Detroit Riots of 1967 but nobody can deny Motown is a Detroit sound. By the 1990s, Motown had changed and been sold but its legacy and relevance is crucial. Let’s go back to the start. The BBC chart the start of Motown and define its sound:

On 12 January 1959, the music sensation that changed America – and the world beyond it – was set in motion. Detroit-born 29-year-old Berry Gordy founded Tamla Records with an $800 loan from his family’s collective savings. By the following year, he’d merge this into the Motown Record Corporation: an independent empire that would seal its genuinely iconic status, introducing legends including The Jackson 5; Diana Ross and The Supremes; Stevie Wonder; Smokey Robinson; Marvin Gaye; Martha and The Vandellas; The Commodores and many others among its hundreds of signings...

Sixty years on, Motown’s classic catalogue remains ubiquitous and influential: forming a blueprint for modern soul and pop successes, from girl groups to hit singer-songwriters; sampled on countless hip hop and dance anthems and covered by acts of every genre. On its anniversary, the music is celebrated in the book Motown: The Sound of Young America by Adam White with Barney Ales (Thames & Hudson) – filled with rarely seen and previously unpublished photos”.

The Motown sound influenced and guided artists from 1959 and you can hear its legacy today. Maybe we do not have bands like The Temptations and The Supremes but that is not to say we have forgotten the lessons and dynamics of the label. In many ways, mind, Motown seems to be very different to the modern scene. The Motown label pushed this tight, punchy and spirited songs; the aim was for artists to write, produce and be as authentic as possible – something we should remember today, where the mainstream is become less punchy, concentrated and personal. That desire for artists to be able to dance, sing and produce sounds rigid and strict but it was designed to ensure the music we were hearing had heart, soul and (that artist’s) stamp. A lot of artists made the label a huge force but few came bigger than The Miracles. The BBC article picks up the story:

The Miracles would become Motown’s first million-selling recording artists. The first of scores of Motown number one singles was delivered by teen girl group The Marvelettes: 1961’s Please Mr Postman had Gladys Horton on lead vocals and backing from Motown’s ultra-sharp house band The Funk Brothers (including Marvin Gaye on drums); like countless Motown gems, it would also inspire major cover versions – in this case, by the likes of The Beatles and The Carpenters”.

Motown’s boom and popularity peaked by 1967 and that coincided with the riots in Detroit. Motown was rare because it was a black-owned label with multi-racial staff. Civil rights leaders like Dr. Martin Luther King Jr. helped raise awareness of inequality and bring about change but, in musical terms, Motown was key and huge. Racism and a lack of opportunity for black artists would rear its head in the 1970s and 1980s but Motown helped break down barriers and see some of the best black artists of the day in the mainstream. Gordy set up the Motown label with a solid ethos: to write songs for every race and make everyone feel good. Motown certainly achieved that and took the world by storm. That is not to say Pop and mainstream sounds before then lacked heart and smile but Motown threw something new into the mix. Funkiness, soulful grooves and these brilliantly tight and catchy songs got the world dancing and remain classics to this day. Motown was as much about promoting love and peace as it was a simple and effective style of music. Have we seen a label/genre arrive that, at its heart, was about love and making everyone come together?! It is amazing to think that, if we tried today, the notion would be shot down and mocked. Motown was not all about general themes like love and harmony: political anthems would emerge once Motown’s superiority was established by 1970. Edwin Starr (War) and The Temptations (Ball of Confusion (That’s What the World Is Today) would deliver political directives and these hugely powerful songs.

 IMAGE CREDIT: Getty Images/Spotify

Marvin Gaye (What’s Going On) and Stevie Wonder (Innervisions) put out albums that talked about political corruption, racial tensions and rivalries. Maybe Motown’s sound and stable changed after the 1970s and the label relocated to Los Angeles. Big stars like Michael Jackson had moved to other labels by the 1980s but the kindred spirit and family connection remained strong. Every Motown anniversary is important but now, for its sixtieth, something great is happening in Detroit – as this article shows:

The Sound of Young America now has 60 candles on its birthday cake. And in Detroit, the party is just getting started.

Motown is celebrating its diamond anniversary in 2019, marking 60 years since Berry Gordy Jr. founded the company that became a musical, cultural and commercial force inextricably linked to the city, right down to the name.

The anniversary will bring a series of high-profile hometown events led by the Motown Museum, including a new exhibit, a spring block party and a celebrity-studded Motown 60 Weekend in the fall.

The birthday is officially Saturday: On Jan. 12, 1959, Gordy secured $800 from a family co-op fund to start his independent record company.

But the Motown anniversary campaign will be a yearlong affair, including global initiatives by Motown Records and Capitol Music Group, the latest corporate parent since Gordy sold the label in 1988. It will be a year that honors Detroit stars now gone and the luminaries still with us — working alumni such as Stevie Wonder, Diana Ross, Smokey Robinson, Mary Wilson and Martha Reeves, along with groups such as the Temptations and Four Tops, helmed by respective founding members Otis Williams and Duke Fakir”.

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 IN THIS PHOTO: Motown founder Berry Gordy Jr./PHOTO CREDIT: Forbes/Getty Images

I love Motown and get a great feeling when listening to a golden hit from its stable. As from 2011, Universal Motown was separate from Universal Motown Republic Group. It is not the same label as was set up in 1959 but artists from the Universal Motown label have been transferred to the revitalised Motown label. It is a subsidiary of Capitol Records but it is good to see the Motown name operating and surviving to this day. I love the fact there were these divisions and different Motown camps. We had Tamla Records that was established in 1959 and was in operation a couple of months before the Motown Record Corporation. The label was merged with Motown in 1988 but the stable gave us Smokey Robinson & the Miracles and Stevie Wonder. Motown Records, established in 1960, was purchased by MCA in 1988 but gave us Michael Jackson, Four Tops and Lionel Richie. The appetite and desire for Motown is still around today. In 2011, President Barack Obama hosted a star-studded Motown Gala at the White House; Gordy’s biography led to the Motown the Musical it made its way from Broadway to London’s West End. Even though we do not have the same pedigree as the 1950s-1980s; it is clear people still love Motown and the label’s reputation will never fade. My personal favourite Motown track is Papa Was a Rollin’ Stone from The Temptations.

It was written by Motown hit-makers Norman Whitfield and Barrett Strong for The Undisputed Truth in 1971. The Temptations took the song to number-one late in 1972 and it remains one of the most instant and icon Motown songs. Why has Motown endured and why has its name extended beyond the music itself? Was it a well-timed offering or was the simple philosophy of Motown too hard to resist? I will make one last trip to the BBC article and leave the final offering to Berry Gordy Jr.

There is something else that explains the enduring power of Motown. Gordy, recalling a tour of the American South, said that “despite the hostility and racism we faced, we knew we were bringing joy to people. The audiences were segregated. The venues had a rope down the middle of the audience separating blacks from whites, but soon the rope was gone and black kids and white kids were dancing together to the same music. It created a bond that echoed throughout the world”.

Not only should we spin some classic Motown to celebrate sixty years but take to heart the spirit and aim of the label. How often do we talk about love and compassion in music today? Is there the same simplicity and joy as we got from Motown? I think we could revive a great time and corner of music that produced some of our very finest artists. As we end the day, let’s raise a glass to Berry Gordy Jr. and...

 IN THIS PHOTO: A group of Motown recording artists and employees, c. 1962-1963 (from left to right: Stevie Wonder, Eddie Kendricks; Uriel Jones (on step), Elbridge Bryant; Otis Williams, Esther Gordy (unconfirmed); Paul Williams, (unknown); Melvin Franklin, Diana Ross; Robert Bullock, Patrice Gordy; Florence Ballard and Mary Wilson)/PHOTO CREDIT: Getty Images

A revolutionary record label!

FEATURE: BBC Radio 6 Music’s New Evolution: Weekend Breakfast with RadMac

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BBC Radio 6 Music’s New Evolution

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IN THIS PHOTO: Mark Radcliffe and Stuart Maconie are the new weekend breakfast presenters on BBC Radio 6 Music (Maconie is doing it solo until Radcliffe returns next month)/PHOTO CREDIT: @BBC6Music  

Weekend Breakfast with RadMac

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ONE of the saddest announcements of last year...

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 IN THIS PHOTO: A disguised Mark Radcliffe makes sure he is present for the final RadMac show of 2018/PHOTO CREDIT: @BBC6Music

was that Stuart Maconie and Mark Radcliffe were moving from their afternoon slot during the week and were heading to weekend breakfast. In some ways, it seemed like a bit of a punishment. It is like demoting someone and putting them to a less popular slot; they cannot cause trouble and are out of harm’s way. Another sad thing was hearing their final weekday show last December. They ended things with dignity and positivity – they were not leaving but merely moving – but the fact Mark Radcliffe was recovery from his throat cancer treatment brought a lump to my throat. Wonderfully, he made a brief return to the show in the form of a snowman! With his voice a little sore and hoarse still, it was still the same Radcliffe we all know and love – just a bit unwell and on the road to recovery. Hearing him back on the air made that decision to move ‘RadMac’ to weekends – how could they do this to a much-loved radio partnership?! The BBC had their rationale I am sure – beats me what it is! – but they kept that at the station at least. I was a bit teary hearing the final moments of the weekday show and knowing the two of them would not be in their natural place made me very cross. It was with a cheer and sense of relief that we welcomed the duo back – one-half of it, at least – to radio this morning.

Hearing Stuart Maconie present the first of the weekend breakfast shows was strange but instantly familiar! His voice was not in tip-top shape (recovering from a cold) and that was a fact that was slightly mocked by a welcomed caller during the show! As with Shaun Keaveny and Lauren Laverne opening their accounts – I did not have time to review Mary Anne Hobbs’ inaugural show – that all-important first song was studied. Many people were guessing and wondering what it could be. Laverne opened with Prince whilst Keaveny went for Arctic Monkeys. I know Maconie would opt for something with some swagger from the 1990s. Given the fact that was a ripe and bounteous decade for guitar music, the list of available songs was certainly long! I think he gave some cryptic clues on his Twitter leading up to the show and mistakenly said that a clue would be found above a library in Aberystwyth – the opening line of A Design for Life was unveiled by the band at the Cardiff Central Library. It was a minor factual error but not one that stopped people getting the correct answer! It was a perfect opener to the show, too. If Maconie had gone with something Freak Zone-esque (he presents his Freak Zone on BBC Radio 6 Music) then the tone would have been wrong. If he has chosen something modern then, I feel, that would have not been quite up to the grade. A classic slice of Manics gave us all a lift and a song we could belt out!

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 IN THIS PHOTO: Sleaford Mods’ Jason Williamson is the new voice of The Chain/PHOTO CREDIT: Getty Images

Hearing a croaky Maconie welcome us in gave me the shock of my life – thinking he was seriously ill too! I can only imagine how strange it was for him to wake up at God knows what time and traipse to MediaCity in the dark. The fact he is use to waking up at a sensible time and arriving to work in the daylight means this new show was already a bit strange. Armed with some breakfast treats – Twitter photos showed us some orange juice and croissants – he went on with it and laid out the stall. We knew The Chain was carrying over (Sleaford Mods’ Jason Williamson is the new voice of The Chain; Diane Morgan fills in for Kirsty Young regarding the interstitials/humorous links) and it would have been a mistake scrapping such a long-running institution. (Tea Time Theme Time also survives but we will hear that tomorrow). The music played was a reliably mixed and quality-heavy assortment. It was business as usual in that respect and apart from a slightly more uplifted tone and a few more morning-appropriate bangers...it was the same show in terms of the tunes. The tunes were big and Maconie would play everyone from Dr. Dre and The xx to Stealing Sheep – one of my favourite bands of the moment! The first part of the show was certainly eventful. I was expecting Maconie to be bleary-eyed and stumble through a few links; get lots wrong and be a bit moody...I would be if I was having to adapt to this ungodly waking time!

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 IN THIS IMAGE: The Queen biopic, Bohemian Rhapsody, was discussed by Clare Crane and Stuart Maconie in This Week in Music (it did sterling business at the Golden Globes where it was noted, by Crane, it is the lowest-rated (by critics) film to win Best Picture since 1986/IMAGE CREDIT: Getty Images

Illness be damned - it was a humorous, warm and humble open. People were getting in touch to offer praise and support for the new show. One of the oddest moments of the show came when Maconie played Tubular Bells by Mike Oldfield. That was not the odd bit: the fact it was cut short was the baffling bit. The decision to play the song sounded ration to me: another diverse turn so the show was fresh and covered a broad spectrum. I half-expected to hear the news the Queen had died when Maconie arrived unexpectedly quick on the microphone. I am not sure if a producer had stepped in or they got a phone call from the bosses as soon as the song was played. Apparently, it was not ‘appropriate’! If he had played a profanity-laden Eminem song then that’s fair but what was wrong about Tubular Bells?! Maybe the higher-ups felt the tone was too creepy or wrong for a morning show (let’s hope this is not the sort of sh*t that the duo will have to endure as they take to weekend mornings!). The fact they have been screwed regarding their time slot and now have management breathing down their necks made me angry. Maconie handled it well and played The xx instead – I would have preferred a bit of Oldfield to be fair!

Plenty of delight soon came in. A first caller on The Chain kicked things off well (if a little timid at times) and it was good to see this well-liked and established part of RadMac make the move. I was keeping my ears out for new features and we would get a couple. One was This Week in Music with Clare Crane; the other was Sampled Underfoot (where an original song was played and then a song that samples that one...a clever and nice idea). I shall come to those but a welcomed and much-missed voice soon came on the phone – a certain Mark Radcliffe. Not as croaky and tired as he sounded before Christmas, it was good to hear the friends chat again. Radcliffe was, as you’d expect, in sparkling form and very funny. He mocked Radcliffe for sounding rougher than him and proposed a new idea in the show whereby they would each drink a pint of lager during a song – I forget the names he gave for the concept but it will come to me! Radcliffe has a new dog, Ziggy, that has put some pep in his step and he (Radcliffe) sounded very fresh and excited to come back – we were told an early-February return is more than a possibility. Looking at a photo posted of him, he looked very fresh and good right now. I guess the fact Mark Radcliffe is almost back with us sort of makes up for the fact that the beloved weekday show was bumped down the ladder!

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 IN THIS PHOTO: Clare Crane, a fixture of the afternoon show, presents This Week in Music on weekend breakfasts/PHOTO CREDIT: @CraneClare

I like the new feature involving Clare Crane. I felt the daily news was a little overkill weekdays. On Shaun Keaveny’s breakfast show, Matt Everitt or Georgie Rogers would deliver the news and then, a few hours later, we would get the same from Clare Crane or Elizabeth Alker. It was good for those who missed the original news but was not really giving Crane or Alker the chance to offer anything new. Now, with This Week in Music, it was a chance for Crane and Maconie to chat about news stories that had cropped up the week before. They chatted about the threat to HMV’s future and made some good points regarding a Guardian article that dismissed the purpose and importance of the music giants; taking to task the somewhat sanctimonious and snotty tone of the piece. They talked about David Bowie – last week marked the three years since he died and his seventy-second birthday – and it was good to see a more in-depth discussion and Clare Crane given the chance to offer her own opinions. I like the feature and feel there is plenty of material to draw from. I am not sure whether she is back tomorrow morning but I guess she will be! A humbling aspect of the new show was people, such as myself, waking up early to catch it.

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 IN THIS PHOTO: Mark Radcliffe with his new dog, Ziggy/PHOTO CREDIT: @themarkrad

One might assume the only people up at that time were drunks and the insane but there are plenty of people who listen to the breakfast show because they want to start the day right. A 7-10 A.M. burst of Radcliffe and Maconie sounds like a brilliant way to get the weekend kicking! I cannot wait to hear what comes tomorrow and see the return of Tea Time Theme Time. The music, as I said, was the usual blend of new and old; perhaps with a slight emphasis on keeping things upbeat and not dropping the pace too much. The best aspects of the new weekend breakfast show was the comparative freedom Maconie was given. Apart from stuffy corporate noses objectifying to some Exorcist-scoring sounds from earlier, the show felt quite loose and not like management hands were controlling everything. I felt, at times, the afternoon show was being moulded too much or there were ears and eyes closely monitoring. I suppose weekend breakfast is a different cup of tea and there is a bit less pressure. Anyone expecting nerves or any sort of radical change would have been left disappointed. I love the fact Stuart Maconie provided a dignified, solid and interesting start to the new slot. Not many breakfast shows are genuinely funny, charming and varied so it is a benefit to have Radcliffe and Maconie leading the ship.

I love the fact regular features are sitting alongside a couple of new ones. I do wonder whether one more new addition might complete the set. It does not need to be too radical but I think there is scope for another feature or song-related segment. Maybe that is all to come but one can have no grumbles regarding the new weekend breakfast show. The addition of Mark Radcliffe’s voice provided us with cheer and comfort and the entire three hours whizzed by! For those looking to adapt from the familiarity of the weekday afternoon show and its pace wouldn’t have taken too long to get behind the new breakfast show. I guess Stuart Maconie will get used to the dark start and early alarm call but I was so pleased to hear him back. When he and Mark Radcliffe re-join forces in a few weeks, it will be the first time we have heard them both on the microphone for a whole show in months. I feel all of the BBC Radio 6 Music D.J.s changing slots – Lauren Laverne, Shaun Keaveny; Mary Anne Hobbs and our weekend breakfast hosts – have done really great shows and they sound natural. It will take a few more weekends before we are in the groove and fully converted by the opening show was a triumph. Stuart Maconie spoke with Will Poulter (who plays Colin Ritman) from Black Mirror: Bandersnatch and it was a nice piece. Poulter was articulate, warm and interesting and talked about the new show, his decision to take time away from Twitter and his love of Hip-Hop.

One of the biggest losses is that regular interview segment of the RadMac show. I love their interviews and, through the years, we heard some classics! Given the early hour of the show, it is hard to recruit people. That said, Lauren Laverne is interviewing and, if someone came in after 9 A.M., then it allows them plenty of time to get up! I hope there will be some in-studio interviews because I love the way Radcliffe and Maconie bond with their guests – so long as there is not a Father John Misty-like guest coming in, that is! It is still early and I hope as much of the afternoon show gets transferred across. It is full respect to Stuart Maconie who has helmed most of the shows himself since Mark Radcliffe’s hiatus. I hope they present the first show back together in February but I know Maconie will need a breather in a bit! Many people were wondering whether the new RadMac show would be a different beast to the one we know and love. There is always going to be suffering and loss – the fact they are only on two times a week is the biggest problem. I like that there are no major alterations and there is chance for great features, eclectic music and lighthearted chat. I got up early to listen in and so glad I did!

I’m still a bit pissed about the Tubular Bells one-eighty but everything else was spot-on. Maybe an extra feature would do well – there are plenty of ideas that come to mind – and the decision to retain The Chain is a good one. By the end of the three hours, it was like Stuart Maconie was never away and one of BBC Radio 6 Music’s best voices was back at MediaCity. I do wonder what Maconie will do during the week and I feel like BBC Radio 6 Music could give him an extra show – it seems harsh that a decades-inspiring broadcaster and journalist is just doing weekend breakfast and The Freak Zone. Most of us end the working week with depressive enervation and a need for a huge boost. Stuart Maconie provided that this morning and it will be great to hear Mark Radcliffe back in the fold soon enough! Given the success of the first breakfast show, we are all going to tune in tomorrow and get another burst of goodness! The fact we do not get to hear Radcliffe and Maconie five times every week is a crime and I hope the BBC heads realise the negative reaction to the move – in the sense we all wanted them to stay where they were! – was justified. There are fewer finer broadcaster around and they deserve more than just the weekend. I have every faith Mark Radcliffe and Stuart Maconie will find their way back to weekdays/evenings very soon but, on the first weekend breakfast outing, Stuart Maconie gave us a...

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 IN THIS PHOTO: Stuart Maconie enjoying a healthy breakfast before his first weekend show/PHOTO CREDIT: @BBC6Music

TRULY wonderful and memorable show.