FEATURE: Ronnie Scott at Ninety-Two: The Jazz Musician Who Founded an Iconic London Venue

FEATURE:

 

 

Ronnie Scott at Ninety-Two

IN THIS PHOTO: Ronnie Scott captured by Godfrey Argent on 17th November, 1969/PHOTO CREDIT: National Portrait Gallery, London  

The Jazz Musician Who Founded an Iconic London Venue

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IT is not often I celebrate and mark club owners...        

 IN THIS PHOTO: Ronnie Scott’s Jazz Club, London/PHOTO CREDIT: Getty Images

but there are not many London venues that last for sixty years. It is hard to know whether Ronnie Scott is more famous for being a musician or the founder of the legendary Ronnie Scott’s Jazz Club. The club celebrates sixty years in October and it is amazing to see this bedrock of the London live music scene go from strength to strength! I will come to the club and its survival but, on 28th January, 1927, Ronnie Scott was born. Born to a Jewish family in Aldgate, Scott began playing on small Jazz clubs at the age of sixteen. His passion was sparked early on and he began touring with trumpeter Johnny Claes (1944 to 1945) and Ted Heath (in 1946). Although his early life saw minor recognition and success, Scott was part of the band of musicians who worked on the Cunard liner, Queen Mary. He worked there so he could visit New York and the sounds coming from Jazz clubs there. Although British-born, it was the American Jazz masters like Charlie Parker who had a bigger influence on him. There was another step in his career when he joined Jack Parnell’s orchestra and was there in 1952. Soon enough Scott led his own groups (a nine-piece and quintet). Scott co-led The Jazz Couriers with Tubby Hayes between 1957 and 1959 and, before long, he moved to open his own club. Scott was an occasional and talented session musician and is renowned for his solo on The Beatles’ Lady Madonna.

Although Ronnie Scott was passionate about music, his experience in New York had made an impact. Jazz was not a huge commodity in Britain in the 1950s and a lot of the best players were working in the U.S. That said, there were some upcoming artists but very few specialised Jazz clubs for them to play in. Alongside Pete King (a tenor sax player), Scott opened Ronnie Scott’s Jazz Club on 30th October, 1959 in Soho. The opening and early moments were a success but it was not long before the club moved from Gerrard Street to Frith Street – it was in its new location by 1965. Using his experience in music and his stage command, Scott preceded over events at the club and was their compere. A lot of the Jazz clubs in America (during the 1950s) has comedians and entertainers who would introduce the musicians and get the crowds warmed up. Scott, as this genial and humour figure, would get crowds ready with his asides and jokes – he had his regular routines and staple lines. Although the club moved from a small basement to a more buzzing location; it retained its core of excellent Jazz in a warm and relaxed environment. In many ways, Ronnie Scott’s Jazz Club was a revelation. The club had a British feeling but was distinctly motivated by the successful and popular Jazz joints of New York. Scott ran the club until his death in 1996 and Pete King took it over until 2005 when it was sold to Sally Greene – the theatre impresario keeps it alive and has not changed the club’s spirit and ethos.

Not a great deal has changed since the early days. Maybe it is less bursting and bustling than it was in its earliest days. Back in the 1960s it was a real hotspot that saw the likes of Miles Davis and Sarah Vaughn delight and inspire. A lot of the biggest musicians of the time preferred the environment of Ronnie Scott’s as it was more intimate and familial than the concert halls – which were often quite large, cold and impersonal. It is the familiarity and comfort of the club that continues to draw in the biggest names of the music industry. Ronnie Scott’s, now and then, is the place that offers upcoming artists a chance to hone their skills and play to a very dedicated and receptive audience. It has, in the past year played host to big artists like Norah Jones but a lot of underground acts have been fortunate enough to play there. The club has developed through the years and is not purely about Jazz and concerts. With its space downstairs and its thriving bar upstairs, Ronnie Scott’s is one of the most sought-after hang-outs for the hipsters and music lovers of all ages. It is not reserved to Jazz experts and, with its D.J. sets, there is Latin, Jive and Blues music played. Ruby Turner is playing a few days next week but, if you look at the calendar then you can keep abreast of all the happenings and shows at Ronnie Scott’s Jazz Club. Ronnie Scott would be proud of the club’s success and the fact it remains secure, safe and popular.

There is a great menu and selection of drinks to be found and the Upstairs @ Ronnie’s is a one--hundred-and-forty capacity bar that offers live sounds every night or the week. There is poetry slams and sets; jams, art and everything you could possibly want! The cocktails are legendary and the service is excellent. It is a perfect spot to visit whether you love Jazz or not. The convivial and relaxing setting is great for new musicians who might feel intimidated playing at such a legendary venue. London has some great Jazz clubs – including Vortex in North London and Nightjar in the centre – but there is nothing that rivals Ronnie Scott’s. Boisdale has Scottish food and might seem an unlikely bedfellow with Jazz but it is, perhaps, the most similar to Ronnie Scott’s in terms of feel and layout. The Blues Kitchen and 606 Club are thriving and Jazz Café is worth a visit. Nola offers a suave and grand setting close to Ronnie Scott’s and, although some of these Jazz clubs have been around for a long time, most are relatively new and one feels inspired by the success and flair of Ronnie Scott’s. There is debate as to which London Jazz club is the most popular and relevant but there are none as iconic and sought-after as Ronnie Scott’s. When it celebrates its sixtieth anniversary in nine months, many new and established artists will pay tribute and ensure we have many more decades of the wonderful venue.

With more and more venues in the capital being threatened, it is humbling and encouraging to know this king of the Jazz scene has remained since the 1950s. There are those who feel Jazz is an outsider genre and style of music that can never rival the appeal of Pop and Rock. The fact there are at least a dozen fantastic Jazz venues in London proves there is an appetite and it is more than the music itself. At Ronnie Scott’s one gets that complete experience: a stylish and evocative décor and the wonderful drinks. I have not visited myself but have interviewed many Blues and Jazz artists who have played there and everyone has the same takeaway: it is the most important and best gig they will ever play. It is all down to the ambition and passion of Ronnie Scott and what he sought out to achieve before 1959. His reputation and legacy as a Jazz musician is solid but his name is synonymous with the creation of one of the world’s best and most respected Jazz clubs. Even though it is located in London, it has that feel of a 1940s/1950s American Jazz club and has stayed relatively true to its roots – one will not find needless modern touches and too many changes that make it more ‘trendy’ and suitable to young audiences. The fact Ronnie Scott’s Jazz Club has remained stoically proud of its roots and ideals is one reason why so many people go there. It is a dream venue for many upcoming musicians and, through the years, the walls have played host to some true legends. As we remember Ronnie Scott on his ninety-second birthday, I wonder what he would have made of the success and rise of his club. I am sure he would be proud but he could not possibly have imagined that, when it opened its doors (at its original location) on 30th October, 1959 it would remain thriving and strong...

 IN THIS PHOTO: Ronnie Scott’s Big Band/PHOTO CREDIT: Getty Images

AFTER sixty years!

FEATURE: The Brilliance and Enigma of Azealia Banks: Is She Blurring the Line Between Persona and Needless Controversy?

FEATURE:

 

 

The Brilliance and Enigma of Azealia Banks

IN THIS PHOTO: American Hip-Hop/Rap star, Azealia Banks/PHOTO CREDIT: Highsnobiety/Andrew Boyle 

Is She Blurring the Line Between Persona and Needless Controversy?

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FOR as long as music has been producing stars and icons...      

 IN THIS IMAGE: The cover of Azealia Banks’ December-released (2018) E.P., Icy Colors Change/IMAGE CREDIT: Spotify

there has been controversy and that confusion between persona and being offensive. Look back at the Punk icons like Johnny Rotten (Sex Pistols) and Ramones; Britpop bands like Oasis and modern-day performers like Azealia Banks. I am not saying Banks is on the same level as the iconic best but she might get there one day. It is clear she is a gifted live presence and someone offering something genuinely new to music. It seems unfair to single her out but it seems she is making the headliners more for her comments as she is her music. Banks has a chequered history of making misguided remarks and getting into Twitter spats. I shall come to that later but the most-recent incident of Banks getting into hot water related to her insulting Irish fans at a gig. This article explains how the American rapper can be prosecuted:

“Azealia Banks could be prosecuted if she continues to make insulting remarks about Irish people, a barrister has suggested.

The rapper, 27, walked off an Aer Lingus flight from Gatwick to Dublin before take-off earlier this week because of an apparent spat with crew on board.

Banks chose to disembark the plane before take-off after a verbal altercation took place between her and airline crew when she told them not to stare at her as she was being asked questions.

She then posted a series of Instagram stories about the exchange in which she called one member of the airline crew an “ugly Irish b*****”.

The New York rapper claimed she had been “treated like a wild animal” and denied that she had told the stewardess she would “sort her out”, saying that she does “not use that kind of slang”.

It would be callous to write Banks off as someone who stirs trouble and I think there is an aspect of persona and character. Musicians have been ruffling feathers and rebelling for decades and the industry seriously needs those with a bit of attitude and personality. I have been looking for someone who stands out and separates themselves from the pack. Azealia Banks is someone who has spirit and spunk and is unafraid to hold it back. Is there a big difference between someone like Liam Gallagher running his mouth against certain figures and his brother and Banks insulting fans?! If it was a case of the odd Twitter feud and a few regretful moments then one could say it is part of music and can be overlooked – it seems like the problem runs deeper. The fact there are articles that chronicle her Twitter beefs and controversial moments leaves me concerned. It is a shame she is making the news for the wrong reasons because, as a performer, she is stunning. This review from The Guardian recalls her recent gig in Manchester:

“After high-profile spats with everyone from Grimes and Elon Musk to Zayn Malik and Sarah Palin, this week Azealia Banks was at it again. An apparently straightforward flight to Ireland saw the hair-trigger New Yorker remove herself from the plane after an argument with an air attendant ended with her referring to “ugly” Irish women. One tearful confessional and a live triumph in Dublin later, she reignited the furore with a social media rant referring to “leprechauns”.

IMAGE CREDIT: Spotify

She has just one proper album to her name (a second is due this year) but it’s hard not to suspect that while they have kept her in the spotlight, the spats – and perhaps not unrelated, her mental-health issues – have also prevented her becoming the superstar she should be. Here she croons like a jazz singer and delivers freestyle rap at blistering speed. When she unveils an a capella soul voice as big as Whitney Houston’s, she is a revelation”.

Azealia Banks has her third album (her second proper) coming out later this year and it will be interesting to see what she writes about. There is hot anticipation in the music community but, even before her debut, there was this wait and sense of anticipation. Years past between her first signs of promise and the much-required debut album. Broke with Expensive Taste arrived in 2014 and critics were keen to see whether the wait was worth it. The Guardian had this to say:

“Three years after her breakout hit 212, Azealia Banks has finally released her debut album. It’s a contender for album of the year. Banks immerses herself in 90s nostalgia, spitting darkly and sharply over tracks full of elements of UK garage, deep house and trap (an aggressive strain of hip-hop). She makes lines such as “Sprite I love the mosta/I ride rolla coasta/I try all the cultures” not only rhyme, but pulsate. It’s childish and kitsch: the use of xylophones creates a tropical timbre… but it’s a knowingly naff, Hawaiian resort kind of tropical. The only mis-step? Nude Beach A Go Go sounds like a Christmas single by an ersatz Beach Boys”.

In July 2018, Banks left the set of the U.S. T.V. show, Wild ‘n Out – she accused the cast of using colorist jokes against her. She was due to release her album, Fantasea II: The Second Wave, but said she needed some time to relax. Banks went on to say she would release music when she was ready. It is clear there have been occasions where people have jabbed Banks and tried to rile her. That cannot be forgiven and there has been a lot of pettiness aimed against her. I think, however, Banks is creating more controversy than necessary. It is evident she’s one of the most promising names in modern music and can do a lot of good. With competition from the likes of Cardi B, one wonders whether digs, Twitter spats and needless attacks against fans are the way to raise her profile. It is sad to see the music taking second fiddle to the remarks. When interviewed by Highsnobiety last year, Banks addressed questions regarding scandals and Twitter fueds:

“This is the thing,” she says, “It’s like people get way too dramatic about things. Who cares? People do shit. People have done shit to me, I’ve done shit to people. It just fucking happens – you live and you learn and you move the fuck on. Honestly, I don’t know what people’s obsession is with me being like this. People are always like, ‘Are you a miserable person?’ Oh my fucking god. Like I’m at home hanging out with my dogs, baking cookies, writing songs, watching TV, and doing my goddamn thing. People love the drama and then they like to pretend they don’t. And then they’re always like, ‘Oh, how could you say that?’ And then they’re talking about it for fucking two weeks and it’s like ‘shit, let it go.’”

I ask, “While we’re here, is there anything that you would want to clear the air on in any sort of topic or –”

PHOTO CREDIT: Pinterest 

“Well, if I weren’t the person that I am, I don’t think I would have a semblance of the cultural relevance that I do, you know? With black women in music, it’s really easy to be forgotten about when you’re not really subscribing to the whole… I guess, hyper-feminine idea of what a female artist should be. When you’re not being a fantasy of what society thinks the perfect woman is as a female artist, it’s really easy to get cast aside, and even when you are doing that, it’s still really easy to get cast aside. My voice and my opinion is in tandem with my music, [and it’s] something that makes me really special.”

She continues, “I’ve been banned from Twitter for a lot of different reasons, I’ve probably had my Instagram follower count stifled [with] shadow banning censorship, all kinds of things like that. It’s just indicative of the personal power that I have beyond being the musician. And yeah, of course, sometimes you can get a little heated and things could get a little out of hand… [but] that happens for everybody. I have the potential to do more than just music and be more than just a musician”.

It is true, like I said, the debate is not one-sided. Banks has received unwanted attention and abuse and I do not think that should be overlooked! It is not fair when Banks is the subject of derision and insult. Whilst it is easy to say she should rise above it, I do think there is a difference between a unique and bold artist and going too far.

Maybe there are mental-health concerns and pressures that are enforcing her actions. I would feel the same when presented with any other artist but I have to wonder whether Banks needs to let the music do the talking. She is one of the brighter stars in the music sky and I am concerned her popularity and potency will diminish the more controversy and unwelcomed press attention gets in the way. Her history with Twitter is a long and often unhappy one and I do wonder why she strikes out at fans at times – is it a case of there being blame in both camps? The recent controversy in Ireland might be forgotten and, when Banks stepped onto the KOKO stage this week, she gained a glowing review:

“Banks sings as well as any classic soul star, and could rap circles around many artists who are given bigger and better stages. Her interaction with the crowd is superb: she eyeballs them with bravado on “Count Contessa” then takes the time to make sure a fan gets one of the gloves she’s been handing out during the set.

When she reaches her biggest hit to date, the European rave-inspired “212”, you wonder if the ceiling is going to cave in. As a person, Banks clearly isn’t perfect. On stage, however, she is flawless”.

PHOTO CREDIT: Getty Images

At the end of the day, we should be concerned more about the music because that is what matters most. Azealia Banks’ live performances are world-class and she must rank as one of the finest live acts in the world right now. Her music, whilst not prolific, shows plenty of boldness, genius and strength. Banks can get to the top of the mainstream and inspire the next generation but I do wonder whether, at some point, her actions and remarks will overtake her brilliant talent. Maybe feuds and stirring up a bit of controversy is part of the game and a ‘persona’ but I do wonder whether there will be a moment things go too far – threatening to derail her remarkable reviews and growing musical reputation. Banks’ stock is rising but it is dealt a blow every time something unpleasant comes up. There are few artists worth being concerned about but, with more focus on the music and greater discipline from the Harlem-born star she could, very quickly, transform from this star-in-waiting to become...

THE Queen of Hip-Hop.

FEATURE: Dust on the Crates: Are the Risks Inherent in Sampling Holding Back a New ‘Golden Age’ of Hip-Hop and Rap?

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Dust on the Crates

IN THIS PHOTO: De La Soul (circa 1989)/PHOTO CREDIT: Getty Images 

Are the Risks Inherent in Sampling Holding Back a New ‘Golden Age’ of Hip-Hop and Rap?

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THERE are some mighty-big albums turning thirty this year...               

 IMAGE CREDIT: Spotify

and, with that, a chance to introduce them to a new generation. I am just about old enough to remember when they arrived the first time and, at the age of four/five, I was very new to Hip-Hop and Rap. Most of my musical experiences until that point were Pop and Rock; music from my parents and whatever was floating around the charts. Both Paul’s Boutique and 3 Feet High and Rising are thirty this year and, on 3rd March, De La Soul’s masterpiece gets a spotlight. 3 Feet High and Rising was the debut album from New York’s De La Soul and was very different to the edgier and more arresting Rap/Hip-Hop of the day. Whereas groups like N.W.A. and Public Enemy – who released seminal albums the year before – were talking of social justice and police aggression; De La Soul created something humorous, peaceful and light. At the time, the band faced aggression and attacks as many felt their music was against what Rap and Hip-Hop stood for. At a time when the likes of Public Enemy were rallying against oppression and racism, De La Soul were releasing this album that included frat-style humour, gags and this ‘Daisy Age’ sound – harking back, almost, to the Summer of Love in 1967. 3 Feet High and Rising is seen as one of the most important records ever and it took a little while for people to understand its place in the Hip-Hops scene and the role it played.

The same can be said of Paul’s Boutique. That came out in July 1989 and was the second album from the Beastie Boys. The sheer scope and sample-heavy sound of the record meant critics were unsure and did not know how to take to it. It was a different experience to Beastie Boys’ debut, Licensed to Ill, and it meant the trio were sort of hit hard. They got critics back but there were a lot of people in 1989 who felt Beastie Boys were over – a novelty act who had their time and were right for retirement. That record, again, is viewed as a vital addition to the glorious period where Hip-Hop and Rap ruled. I sort of think 1986-1990 is when the genres were at their most important, experimental and eye-opening. Look back at forefathers like Eric B. & Rakim and their 1987 album, Paid in Full. It is one of the earliest examples of that golden age of Hip-Hop – many track the start to 1986 – and its glorious samples and rhymes inspired countless other artists. Look at this review from AllMusic and they highlight how well the samples fuse:

“There are also three DJ showcases for Eric B., who like Rakim was among the technical leaders in his field. If sampling is the sincerest form of admiration in hip-hop, Paid in Full is positively worshipped. Just to name a few: Rakim's tossed-off "pump up the volume," from "I Know You Got Soul," became the basis for M/A/R/R/S' groundbreaking dance track; Eminem, a devoted Rakim student, lifted lines from "As the Rhyme Goes On" for the chorus of his own "The Way I Am"; and the percussion track of "Paid in Full" has been sampled so many times it's almost impossible to believe it had a point of origin. Paid in Full is essential listening for anyone even remotely interested in the basic musical foundations of hip-hop -- this is the form in its purest essence”.

 

I am not suggesting the entire reason Hip-Hop and Rap was ruling from the mid-1980s to the early-1990s was because of sampling! This was a time when American politics played a big role in music and the experience of the black population was hard. Rather than present these very angry and direct songs that rebelled against that oppression; acts like Eric B. & Rakim and Public Enemy managed to project big and striking messages but have this extraordinary tapestry running through. Not only did the songs sound more evocative and accessible with sampling but it was also a way of introducing new genres, artists and albums to people – they would hear sampling and be encouraged to seek out the originator. Not only were these gods passing on messages of uprising and raising awareness of what was happening in their communities; the sampling used provided this aural history and spoke louder than traditional instrumentation. If the messages were looking forward then the samples took us back and created this wonderful combination. It is not only Hip-Hop and Rap where sampling has played a big role. Artists such The Avalanches and DJ Shadow have created masterful albums that have dug deep in the crates and brought together disparate sounds. I feel one of the big reasons why these albums – those from 1986-1990 – made a big impact is because of the samples and how they brought in listeners who would not usually investigate Hip-Hop. That is not to say the samples watered down the message: they added layers and new dynamics and, as I say, created this wonderful clash.

I do think a lot of music today is rather simplistic and lacks the variation and ambition needed to last through the decades. Hip-Hop and Rap are vital genres now and artists such as Cardi B, Kendrick Lamar and SZA are essential young voices. I find, when looking at the biggest albums out there, other genres are stealing focus. We still get these immense Hip-Hop albums coming through that potently speak of injustice and hardship – is the fact sampling is harder these days mean their impact is reduced?! It is a busy and packed music scene and I think there is a big role for Hip-Hop albums that rely solely on the messages and how relevant they are. Consider the anger in the Rap/Hip-Hop community and the plight of the black America. Under Trump, the U.S.A. has hardly evolved since the days of Ronald Reagan. Again, we have a Republican President who is serving himself and not the people – I see so many similarities to 1989. George H. W. Bush became President in January 1989 but, whilst a step up from Reagan, he was another Republican and not aware about things like inner-city poverty, racism and police brutality. I feel Trump is the worst of the bunch and America is more divided than ever. The last couple of years have seen some stealthy and solid Hip-Hop albums but none that match the spread, grandeur and sheer weight of those classic records – from the likes of N.W.A., Public Enemy and De La Soul.

PHOTO CREDIT: @florenciaviadana

Whether we need to foster a peaceful record like 3 Feet High and Rising or an incendiary L.P. like It Takes a Nation of Millions to Hold Us Back (Public Enemy, 1988); is the fact there are stiffer locks on vinyl crates the reason why there is not another golden age of Hip-Hop? You can argue we do not have the same talent we had in the 1980s and there has already been this Hip-Hop/Rap regency. If we were to attempt a second incarnation then would sampling be at its heart? I agree it is hard to define what would make a new golden age boom but I think having access to music’s past is a key ingredient! At a time when young listeners are hearing what is fresh and are less curious than my generation; maybe having these modern records with older samples would be a great way of conveying important messages but opening young minds to some fantastic music of the past?! Sampling was never easy back in the 1980s and it was a hard time getting artists to agree to having their music used. There are articles that explain when you need permission and how to go about achieving that. There are so many different things to consider when we look at sampling in the modern age. Not only are there countless underground artist who are using sounds without permission but laws are stricter and it is a confusing process getting permission. Often, lawyers get involved and they either charge huge rates to use that sample or they insist the original artist gets a big cut of the royalties.

 IN THIS PHOTO: Public Enemy (date unknown)/PHOTO CREDIT: Rock Hall Library and Archive

This article from DIY Musician explains what one needs to do to ensure they are legally using a sample:

“In order to legally use a sample from a copyrighted song in your own music, you actually need TWO different licenses:

1) one for the usage of the master recording (which is often owned by a label)

2) and one for the usage of the underlying composition (which is controlled by the publisher/songwriter)

Unlike the license to distribute a cover song, neither of these two sampling licenses are compulsory, meaning the copyright owner doesn’t HAVE to grant you permission. In fact, they can pretty much dictate the terms for the usage of the sample (though there are some general practices, as shown below)… and you can either agree to those terms OR head back to the studio to remove all instances of that sample from your track.

 

Let’s say that you’ve presented your track to all the copyright owners. They’ve listened and liked what they heard. What now?

Well, the publisher is apt to want an advance (think of it like a clearance fee) which can run you anywhere from a few hundred to several thousand dollars or more, PLUS a percentage of all revenue generated by the song. I’ve seen this listed on some music law sites as anywhere from 15% to 50%, depending on how prominently the sample is featured in the new song.

The label who owns the master recording will also want an up-front fee similar to the advance you’ll pay to the publisher, PLUS something called a “rollover” — which is a royalty calculated based on a sales threshold. (Once you’ve sold X amount of discs or downloads, you’ll owe us $X.)

So, you decided to put a little bit of Ray Charles into your latest dance track, and look how much it’s cost you before the song is even available for sale. Ouch!

There are issues when it comes to getting this far and struggling to get in touch with the copyright holder. What does an artist do when it is that hard to track them down?!

What if you can’t get in touch with the copyright holders?

The above scenario assumes you received a reply from the copyright owners in the first place. That’s a big assumption! Lots of times, big labels and publishers don’t want to bother with independent artists’ sample clearance requests. (“Come back when you’re signed, and maybe we’ll negotiate with you then!”)

So… that leaves a world where sampling is happening — yes, lots and lots of sampling is happening — and yet clearing those samples often feels like a fool’s errand for unsigned artists. No wonder lots of myths and misinformation get spread around this complicated issue.

One of those common myths is this: you can legally sample a copyrighted song without permission as long as the sample is shorter than 6 seconds, or 11 seconds, or 15 seconds…

FALSE!

Copyright is copyright. And if the sample is recognizable (hell, even if it isn’t recognizable), you’re using another person’s intellectual property in order to construct or enhance your own. Think about the famous case of Vanilla Ice borrowing the bass line from “Under Pressure.” The sample is probably only 3 seconds long, but that didn’t stop Queen and David Bowie (or their labels/publishers) from swooping in to collect the cash. So no, you can’t legally sample something (no matter what the length) unless you’ve cleared that sample with both the owner of the song and the sound recording.

 

I mentioned how musicians are using samples without clearance - which not only means lawyers are going to be stricter and less malleable but it spoils things for those who are going about things the correct way:

That being said, plenty of people are releasing music these days with samples that haven’t been cleared. And right or wrong, it’s easy to understand why that practice has become so commonplace, considering the difficulty and upfront cost of clearing samples, the shifting cultural attitudes around copyright, as well as changes in music technology and distribution.

More people than ever before have access to affordable recording and sampling tools. We have access to the entire history of recorded music  — which is like a sampler’s playground stretching across the whole planet and back in time more than a century. And we have access to easy (and independent) distribution, which means it’s harder for publishers and record companies to monitor and control what’s being released, because it’s no longer being exclusively channeled through that major label system.

So, could you just include some samples on your next album or single without clearing them? Maybe — though you’d be violating the contract you sign with your disc manufacturer and distributor, and if those entities caught wind of it they’d be obligated to remove your music from their service until you’d proven you had legally cleared the samples”.

It is, clearly, a bit of a minefield in any case and consider the cost if you were to construct something as fulsome and eclectic as Paul’s Boutique, say! There are Rap/Hip-Hop albums that have sampled dozens of songs and, when you think about the time and cost associated with a single sample, that is a daunting realisation!

I am not saying for one minute there should be a programme where every song recorded is available and one can cut samples from any and use in their work. It would be helpful having that database and then, attached, would be details regarding copyright holders and the process. I feel it is unwise to charge for every sample – as that would stifle creativity and ambition – but there needs to be this legal and transparent process. Look at this playlist that unites all the samples used on 3 Feet High and Rising and one can only imagine the headache is a Hip-Hop band wanted to make that same album in 2019. We cannot let anyone take anything but, in an age where there is a desire for a strong surge from Hip-Hop and Rap...I think we need to ask whether there are ways artists can sample without going to such lengths. We will mark two titanic albums turning thirty this year and I feel the reason they have proved so inspiring and compelling is the way the artists – Beastie Boys and De La Soul – managed to unite these eclectic sounds into something genuinely new. The world is in disarray and I do not think the Pop mainstream have the ability and ammunition to document what is happening and make powerful statements. The true power and truth has always come from Hip-Hop and it has been many years since I saw a sample-heavy record. In fact, there has been nothing quite as busy as Paul’s Boutique since 1989.

 IN THIS PHOTO: Hip-Hop pioneers Eric B. & Rakim/PHOTO CREDIT: Getty Images

Some can argue a song that is a sample-heavy is not new but can only say anything in modern music is new? So many songs have bars similar to other tracks so I think that argument is invalid. I want to bring in an article that features producer Mark Ronson. He was asked about sampling and his experience.

“So say you're working on a song and you're like, "I want to put in five seconds of this other song." You can't just put it in, right?

You can't just put it in. Basically, you go to the person that wrote it, or maybe the person that owns that song now — because it could have been sold, the rights to it, years ago. You have to play them your song, and then you guys kind of come to agreement about how much you're going to give them.

I mean, if you use a tiny two seconds of a Led Zeppelin song, it doesn't matter how important it is to your song — you can pretty much guarantee you're going to give up 100 percent of your publishing to Jimmy Page and Robert Plant. And then you could use a tiny bit of an old spoken-word performance from an old Jesse Jackson speech or something, and maybe give 10 percent of your publishing away for it. I've been on both sides of that equation. Sometimes it's so important to your song. It could be this little saxophone move or something, but to you it defines the entire feel of your song. And it's worth is to give away all that publishing, I think, if it's something you really think makes your song truly special”. 

He expressed how important it was to get permission to use samples – as a lot of older Hip-Hop artists stole what they liked:

“We still tend to think of copying as a bad thing — something we shouldn't be doing.

Back to what I was saying about what you add to the equation, in hip-hop there was the expression "jacking" — like when you just steal something. There is no merit in that, especially if you're trying to steal and get away without actually paying the people that wrote it in the first place. That's the absolute worst. But I think that if you're taking something and building on it, like the way that the Stones and The Beatles and Eric Clapton did with the Delta blues to make their own music, and it's truly become something that can enrich somebody's experience in a different way.

Take "Sunshine of Your Love," for example. Without the great blues guitarists of the '30s and '40s, "Sunshine of Your Love" never would have existed. But I can definitely argue that I get something out of listening to "Sunshine Of Your Love" that I wouldn't get from listening those records. It gives you a different experience. I think that's what deems it worthy; that's what gives you your merit. If you really manage to be influenced or borrow or copy without making it a carbon copy, something that truly provides its own experience, its own thing for the listener, it is original. It does sound like nothing else that came before”.

PHOTO CREDIT: @phosleep  

It is a fascinating article/talk but one question stood out that inspired this piece: the issue of whether we are in a post-sampling age. So many people can create samples on their laptops and fuse anything together. Do artists even look through crates for old records and is sampling the same now as it used to be:

“You know, we used to go to record stores or record fairs to find these rare breaks. I see young producers today, kids who are 19, 20; they stay up all night just sampling straight from YouTube. I think things like YouTube kind of have made a lot of today's younger generation think that, "Well, everything kind of just belongs to us, right?" Because it kind of does: Music has been free for a long time now, for better or for worse.

In some ways, the culture of today is really just about taking whatever you feel like and making it your own. Which is dangerous — there are troubled lines there — because at the end of the day, credit needs to go to the people that created the stuff in the first place. But it does make for some incredible, exciting art. And it does mean that some little kid sitting in his basement in Ohio with a laptop can be making some of the most interesting music around”.

It is clear things have changed and not only is it more difficult to clear samples and be able to afford that but we have technology that allows us to create fresh sounds and samples without having to look at old records – which I think is less effective and important as bringing in older records to the new generation.

IN THIS IMAGE: The cover for Beastie Boys’ 1989 album, Paul’s Boutique/IMAGE CREDIT: Spotify

I think it is great we have access to sounds and effects through technology but I long to hear artists rummaging through crates and, inspired by the artists they hear, make an approach to use them on an album. It has been so long since I heard a sample-rich album come out – and I do miss that a lot. There are many reasons why Hip-Hop enjoyed a regency during the 1980s and 1990s but I feel the ability to sample others is a part of the magic. I think it is harder now to get permission to use samples than it was thirty years ago. As we mark the anniversary of titan albums like 3 Feet High and Rising and Paul’s Boutique; I wonder whether we will see any modern-day versions at all. I feel Hip-Hop and Rap artists are crying out to make their versions but there are so many stages one must take; a more litigious world and a needlessly rigorous process of clearance/permission. It is hard to balance it so people are not stealing music and ensure there is fairness. I think estates and labels can loosen the strings and there needs to be a way where artists can sample others and not have to jump through so many hoops. It is wholly possible we will see another golden era of Hip-Hop and the world now calls for a band/artist who can write that next classic. I think the central messages and performances and key but, if one looks at the iconic Hip-Hop/Rap albums of the late-1980s/early-1990s, then the thing they have in common is the magic and evocative brilliance...

 

OF samples.

INTERVIEW: Sincere Deceivers

INTERVIEW:

Sincere Deceivers

___________

I have been speaking with Sincere Deceivers...

about their latest track, Hot Handed, and how it all came to pass. I was curious to learn why the Yorkshire natives relocated to London and what sort of music drives them – they recommend a new artist to look out for that is primed to go far.

The guys reveals the albums special to them and when we can see them perform; which artist they’d support on the road if they could and whether they have plans for more material – the members each choose a song to end the interview with.

____________

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

Matt: Great, thanks. We launched our new single last week, so mainly recovering from that!

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

Dom: Of course. We’re a London based three-piece. Matt is on acoustic guitar and lead vocals, Tim on electric guitar and I play cello and do backing vocals. We make kind of layered, Folk-infused rock.

Hot Handed is your new single. Is there a tale behind the song at all?

Matt: Yes. It was inspired by two separate sets of events going on around the time of writing. The first was watching friends - and in particular Tim - get married and the other was seeing the impact of dementia on my grandparent’s relationship. I suppose it was an attempt to give some advice that I’m not qualified to give – make the most of special relationships, pursue them in good faith and hope for the best...because you never know what might get in the way down the line.

The song is quite unconventional in terms of its lyrics. Do you feel too many artists lack that original approach to songwriting?

Matt: I feel like it’s an aspect that sometimes get ignored or overlooked in the quest for killer melodies and hooks, but these things are definitely not mutually exclusive and there’s plenty of cracking songwriters out there trying to use words inventively to say something. 

You are Yorkshire natives but live in London. How did Sincere Deceivers find one another?

Tim: Matt and I were at college together back in Yorkshire and played in early line-ups of the band before heading off to various places for uni. After a break for a few years, we both ended up in London again and then roped in Dom, a friend of Matt’s, to make us a trio.

What is life like for a young band in London?

Dom: Unfortunately, I’m not sure we can get away with describing ourselves as young anymore - but London is a great city. There’s certainly lots of music going on and we’ve met some great people along the way. I play in a couple of other London based bands too.

Do you have plans for more material a bit later this year?

Matt: Yes! We’ve written a few new ones over the last six months and we’re keen to get back in the studio. Watch this space.

When you were all growing up, what sort of music inspired you?

Tim: Matt and I were listening to a lot of Pop/Rock bands before we started playing together: The Beatles, obviously; Dylan and singer-songwriters like Tom McCrae, Damien Rice and Folk music like Kate Rusby. My parents introduced me to local folk songs from a young age.

Matt: I remember Urban Hymns by The Verve being one of the first albums I bought and thinking that was pretty cool. Rock music with an epic strings section. Bright Eyes were a formative discovery.

Dom: Muse; dad’s Pink Floyd and lots of choral stuff.

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

Tim: We launched our first E.P. together at St. Pancras Old Church and that was a special night.

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

Tim: Jeff Buckley - Grace

Because it’s the perfect combination of balls-out Rock and Roll with plenty of guitar wizardry, but so much emotion.

Matt: That Buckley album is special. I thought about this for a long time without anything definitive popping in my head. The album that has been on the heaviest rotation for the last seven years is Given to the Wild by The Maccabees. I just seem to keep going back.

Dom: Neutral Milk Honey – In the Aeroplane Over the Sea

It’s shonky, lo-fi; surprising and mad but also emotional moving and intelligent. It’s when I realised you could get away with anything in music as long as you liked what you’re doing.

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

Matt: I’m gonna hijack this one: Scott Matthews. Because I think he’s one of the best singer-songwriters of the last decade and he seems fun. I quite like a sneaky scotch before we go on stage and I think Scott would enjoy one with us after the show too.

Dom: Can I have some Tangfastics, please?

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

Dom: We’re plotting getting out and about over the next few months. But, we will be back in London for a headline show at The Finsbury for Lost in the Manor on 7th March.

What advice would you give to new artists coming through?                           

Tim: I’m not sure we have much helpful advice about coming through, but we have been doing this a while and you can get caught up in the gigging and releasing - but then we try and hold to that reason you started, which is normally that you love making music.

Matt: Also, look after your ears in loud rooms. Mine are getting crunchy.

 IN THIS PHOTO: Amy May Ellis/PHOTO CREDIT: Emma Freemantle

Are there any new artists you recommend we check out?

Matt: The awesome Amy May Ellis played with us at our single launch. We met her through Folkroom Records. They put on amazing fortnightly shows in London with some great acts, including Louis Brennan, Tom Hyatt; Kirsty Merryn and Winterfalle to name a few.

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

Tim: Following my beloved Huddersfield Town.

Matt: I quite like walking.

Dom: Eating food.

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

Dom: Jungle - House in LA

Tim: Lau - Toy Tigers

Matt: Sylvan Esso – Slack Jaw

___________

Follow Sincere Deceivers

Official:

http://www.sincere-deceivers.co.uk/

Twitter:

https://twitter.com/sincere_d

Facebook:

https://www.facebook.com/sinceredeceivers

Spotify:

https://open.spotify.com/artist/4PXiq8gdHxvFSxGXVTCnnT?si=myn_JfhQRz2yi77tY-GB7w

TRACK REVIEW: Rosie Turton - The Unknown

TRACK REVIEW:

 

Rosie Turton

The Unknown

9.4/10

The track, The Unknown, is available via:

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

ORIGIN:

London, U.K.

GENRE:

Jazz

The album, Rosie’s 5ive, is available via:

https://open.spotify.com/album/0ecE3kT7P76f7ZUtEvnL9X?si=M5ksuZSuS1ugleuJIdcIKA

RELEASE DATE:

11th January, 2019

__________

THIS is a bit of a step into a new direction...

and it is quite hard for someone like me to review music that is instrumental. A lot of my ‘skill’ comes from interpreting words and deciphering what an artist is talking about. I have reviewed Jazz before and the trick is to be able to understand the music and what that is trying to say. I will come to the song in question in due time but, right now, Rosie Turton is in front of me and it brings a few things to mind. I want to discuss Jazz and organisations that are raising its profile in the U.K. a lot; why we have overlooked the genre and what it offers to the world; the beauty of composition and how it can say more than words; a look at the future for Rosie Turton and how Jazz can come more into the fore and integrate with other genres. The Jazz:refreshed name is one that has been helping raise the profile of Jazz musicians in the U.K. for years. In 2003, they created a weekly residence in the Jazz world for artists who wanted to experiment and push boundaries. It is hard to succeed in certain genres because the music played can be quite unconventional and strange to some. Think about genres such as Grime and Drill and, why they are getting respect and being heard, it is hard to assimilate into the mainstream. The core of modern music relies on a certain safeness and a familiarity. If one were to splice anything a bit edgy or new into the mix then that ruffles feathers. I will explore Jazz and why it has always struggled to impress upon the mainstream but it is great that Jazz:refreshed is around and helping to aid and uplift some of the best Jazz musicians in the country. The ‘5ives’ series of records – Rosie Turton has released hers recently – has been brought from the Jazz:refreshed stable and brought artists like Ashley Henry and Nubya Garcia. It can be hard for musicians to get heard and have their music discovered and I like the fact there is a label/body like this that is a safe haven and common voice.

I like the fact there is this place for Jazz musicians to go and a supportive hand. If we think about Jazz then we often look back to the past and get a very distinct impression. In terms of the modern brand, perhaps the U.S. leads in our views. I am thinking about Kamasi Washington and the sounds he is putting down right now. There is a rich and hugely impressive stock of Jazz musicians in the U.K. and that has always been the way! I think we need to clear our mind of preconceptions and stereotypes and listen to what is coming through right now. It is always going to be hard for Jazz to truly make its voice heard but there are so few radio stations who take a chance and actually play it. Jazz:refreshed has gone a long way to raise the profiles of some of the best Jazz musicians in the country and make it more accessible to the people. I do wonder whether there is a time when all genres will be together in the mainstream and it is a much broader canvas than it is right now. The reason I say that is because Jazz offers something one does not get from other genres. Think about the sheer sense of expression and individuality one gets from a Jazz player. Pop and Rock can be very generic and you rarely feel like the artist is putting their everything into the music. Also, the music can play second fiddle and, when faced with lyrics and voice, there is not much to distinguish from the rest. It can be quite frustrating seeing this fairly narrow market where there are few risks and truly unique artists. Jazz is a lot more accommodating to those who want to stand aside and genuinely make people feel something. Rosie Turton is someone who can help bring Jazz to more people and show what a strong and varied genre it really is.

She studied Jazz at Trinity College London and she has expressed herself through a variety of musical projects, including composing and playing with the septet Nerija, Sun Ra space-influenced Where Pathways Meet and recording with Hollie Cook. You mention Jazz to most people and they will wrinkle their noses and tell you it is boring. Many people have that impression Jazz is all the same and it is going to be very similar to what was coming out in the 1950s and 1960s. I love Miles Davis but, to some, he can be seen as dry and not terribly exciting. His playing is exemplary and he is a true pioneer but, in terms of excitement and capturing minds, there are some who grow weary and feel there is little on offer. It is different retuning your mind to listen to a form of music that is largely wordless. It is more about the sound and mood set rather than what is being sung. For that reason, some cannot cope and feel like they need vocals in order to understand. Davis proved, through his career, that Jazz is this malleable and ever-evolving form – he moved from the chill of Birth of the Cool to the wild experimentation and fire of Bitches Brew! Modern Jazz is very different to what came out decades ago and there is much to recommend. There is that need for reappropriation and seeing the genre in a new light. Jazz has always been vital and part of the music fabric. From its beginnings to its use in Hip-Hop and Rap – think about the classic records where Jazz can be found – through to the modern breed. Many see Jazz as this club-based thing where people are nodding their heads and it is all quite pretentious and dull. That does still happen but Jazz is so misunderstood. There is so much physicality, beauty and colour to be found and, even if you are new to Jazz, there are modern artists who can make it tangible and real.

You do not need to be an expert and know the history of Jazz to get involved with the genre. Maybe start with artists like Rosie Turton and then work your way back. Turton is a modern talent who is pushing Jazz in new directions and putting her stamp on it. Listen to her album, Rosie’s 5ive, and you have five tracks that are all under ten minutes. One of the problems with Jazz is brevity and focus. It is as much about expression and experimentation as anything and, as such, a little time is needed. Many have short concentration spans and do struggle to sit with a piece of music. Because of that, modern Jazz is offering more fizz, explosion and life than the older, classic icons of the past. I feel Jazz is a mobile and evolving genre. Maybe it will be hard to integrate it fully into the mainstream – due to the lack of vocals – but listen to modern Pop and Rock albums and there is something missing. Maybe it is a certain explosion or that lack of real soul. I think Jazz has a lot to offer and shows what can be accomplished when you get musicians together who create these evocative and hugely impressive pieces. I do think Jazz has so much to give and we often get hung up on this rather cliché and misguided view. Turton’s album does offer some vocals but it is more about the compositional sound and what it is saying. There is a real sense of the international and explorative in the record. Inspired by London, New York; the Himalayas and India, it is a global recording that proves why Jazz warrants respect. How often do you listen to music today and feel genuinely moved?! It is hard in this fast-paced and competitive world to find music that gets into the brain and takes you somewhere special. Jazz, in so many ways, is the perfect form of music for these stressful and busy times.

Most of us are stressed and have very demanding lives. We do not have that much time to relax and set time aside so, when it comes to music, we often play what we are familiar with or something that is quite simple. We need that release and music that makes us feel less tense. I think Jazz has a vital role in that respect because it provides a carapace and comfort. A new article from The Guardian shows many under-thirty-fives are turning to Classical music because it offers an escape from the noise of modern life. That makes sense. We want something calming and beautiful to soothe our minds and ease the strains. I think Classical music will continue to grow and gain focus from young listeners. The same can be said for Jazz. One does not get blasted with guitars and drums and, if you need something de-stressing and inspiring, Jazz is where you go. I do think many assume it is boring and there is not going to be anything worth exploring. I do admit some Jazz music is very academic and unmoving: more about technique and ability rather than emotion and feel. Jazz has always suffered from elitist sneering and snobby disregard. I feel the new breed of players in the U.K. are showing what people are missing. One can add a vocalist to the music but that is not always necessary. It is great just listening to the compositions and discovering all the life and texture that is being presented. Unlike Pop and Rock – which guides us and tells us what is being presented – Jazz allows the listener to go their own way and paint their own images. Music that offers that personal and unique perspective should be applauded. I think too much modern music is very literal and provides little imagination and wonder. Maybe this is why Classical music is bringing in the younger listeners and stressed workers – they want to unwind and be eased but also want something that channels that restlessness in a creative way.

Rosie Turton will go a long way and is already establishing herself as one of the finest young performers in the U.K. Recorded at Soup Studios in East London, Rosie’s 5ive blends together trombone, violin and electronic elements. One of the most important things to remember regarding modern Jazz is how progressive and varied it is. Many feel Jazz is just about trumpets and saxophones and that is about it. Modern Jazz, in fact, integrates many others genres and has quite a modern and fresh feel. Turton and her players explore Indian sounds and Hip-Hop; fuse that with traditional Jazz and pepper through something quite special. It is a blend and explosion of sounds that perfectly draws from Turton’s itinerant and busy past. She has travelled far and met many different people. All of this is brought into the music and she urges the listeners to enter her world and see where she has been. It can be hard convincing a stoic audience Jazz is a genre on the rise and worth exploring. We are all comfortable with our tastes and many of us feel unwilling to bend and try something new. I feel there are elements in Jazz that we do not get with other genres. Consider the power of music itself and how a composition can say more than words. Genres like Pop are great but they are very literal and there is little opportunity to experience the composition – the vocal and lyric are very much the focus. I listen to a lot of modern music and there is this focus towards the vocal and words. The compositions are okay but it is very rare to be drawn to the background and what is happening there. Jazz is all about the musicianship and hearing these committed and passionate players unite and create something stunning. Think about what you can experience when listening to Jazz.

Rather than put it on in the background and dismiss the genre, listen to the music itself and realise how much work and technique goes into it. Rosie Turton is someone who seems completely natural and free but she has many years of music experience and puts so much of herself into every note. (Alongside her is Johanna Burnheart on violin; Maria Chiara Argirò on piano/wurlizter; Twm Dylan on Bass and Jake Long on drums’ Ben Hayes on synthesisers (on Orange Moon) and Luke Newman on vocals (on the track, Stolen Ribs). One can listen to the album and discover something new in every track. Some are more rhythm-heavy and intense whereas you get something softer and more teasing in other moments. Jazz is always fighting against misconception but young British Jazz musicians are showing what can be realised. With the likes of Jazz:refreshed offering stages, support and a community, so much terrific work is emerging. I am excited to see how British Jazz develops and what is around the corner. I think Jazz will not convert everyone and it can be quite hard bonding with a form of music that is more about music than it is vocals and words. You need to have patience to truly appreciate the music in its glory but I think we all need that right now. Classical music is making an impression on the young and I can feel a tangible desire for music that calms us and makes us feel safer. Jazz has that power and, in fact, I think it is much more varied and wide-ranging. Have a listen to songs like The Unknown and, before long, you will realise it is a sign of what Jazz is right now rather than what it used to be – and what people think Jazz is all about. I am not saying modern Jazz has abandoned its past but what we have today is much more exciting and eclectic than the Jazz of the 1940s, 1950s and 1960s. Rosie Turton is among a group of young musicians who are making Jazz more accessible without compromising on ambition and ethics.

I love the production and sound of The Unknown. Rather than starting as this apocalyptic, scary and bleak place, it is quite sparse and rhythmic. Percussion takes the lead and one gets this almost Asian sound coming through in the beats. It is someone spiritual and meditative and, alongside the fast clicks and rolls, there is a contemplative nature that steadies the mind and opens the imagination. Piano rolls in and, at once, the listener is imagining and picturing the song. We begin with this gentle introduction but one that offers plenty of pace and nuance. My lack of technical knowledge will come in regarding the instruments but I love how there are so many different percussive sounds. There is a deeper drum boom at the background that drives the accelerated and bone-clicking lead. The piano rolls romantically and tees up Turton who brings in some smooth, caramel and sensual trombone. I am reminded of John Coltrane’s A Love Supreme and Miles Davis’ Kind of Blue but, in many ways, Turton adds her own spins and provides something even more tender and romantic. It is a great fusion against the passion and pace of the foreground. In many ways, we get a new stage and vision. I am not sure what ‘the unknown’ relates to. Maybe it a physical thing and a darkness we all experience or a more spiritual realisation. Many will have their own views but Turton’s introduction takes the song in a new direction. The players weave in and out of one another and you get this rather scintillating and exciting mixture. The percussion and trombone have their own pattern and path but the piano offers this constantly moving narrative that takes the song to its next phase. There are Jazz numbers that can be cluttered but The Unknown balances the instruments perfectly and everything sounds wonderfully balanced. It is a hypnotic brew that gets into the mind and takes you away. Whereas there are no words in the song, you have these images and scenes that mix the darkness of the night and something more nourishing.

Turton and her band fuse supremely and create this fulsome, rich and epic sound. I feel this song could well be sampled by a Hip-Hop or Rap act because there is so much life and potential to be found. There are moments where certain instruments stand out and get chance to tell a story. I like how the percussion and piano come through when Turton stands back. The song builds and becomes more intense. There is cymbal from the percussion and the trombone sets its own course. Turton both guides her band and creates her own thread. The piano is less audible as we hear this rise but then, before long, the song comes back down new elements come through. There is a violin and the piano shines once more. The Unknown started calm and dark but rises to this sunshine thing that burns and warms with its radiance. I like how there is this improvised feel and the band do not sound overly-rehearsed. One gets romance and yearning from the violin and the piano provides this sense of movement and curiosity. Percussion gives that heartbeat and backbone and the bass keeps things solid. The sheer spritz and energy of the track does not relent and you get captured by this incredible force! I love how it is impossible to turn away from the song and how you will be immersed within. I was imagining this colourful and bustling city that is full of life but there is that confusion and fear. The traffic blares and the people rush; the signs are neon and there is this somewhat spiritual light that emerges from a local café. Maybe there is some psychological fear and sense of the unknown but, to me, the anxiety comes from the physical aspects and the busy streets – something I get from the music. Each player acts like a part of that scene and it is quite an experience!

As the drums pulsate and the trumpet expresses with emotion and conversation, I see that as the rush of traffic and the chatter of people. The piano, bass and other elements are the background noise and life that keeps the feet music and keeps me moving. I find myself drawn to this hectic and multicultural landscape and trying to find some sense of reflection and gravity. Like Kamasi Washington’s work; Turton and her crew are able to create these grand and atmospheric pieces that are full of life but can be understood and appreciation by those new to Jazz. The Unknown calms and retreats and then builds up into this almighty high. It is a sensational track and one that definitely needs a lot of plays. You listen to its first and try to get to grips with all being played and, the more you play it, the more you discover. I was amazed listening back again and finding stuff I did not notice the first time around. The Unknown is the second track from Rosie’s 5ive and leads to the wonderful The Purge. I love how the album/E.P. is arranged and what role each song plays in the overall narrative story arc. There are few songs that leave an impression as big as that from The Unknown. I do not listen to a lot of Jazz but I think this track is a perfect introduction. You do not need to be aware of the genre’s history to understand and appreciate what is being played. If you have not heard Rosie Turton’s music and often find Jazz can be quite stiff and unarresting then do yourself a favour and investigate The Unknown. It is a jewel in an extraordinary album and shows how strong modern British Jazz is.

Rosie Turton has grown as a musician and shows great maturity throughout Rosie’s 5ive. Follow her social media pages – which are at the bottom of this review – and make sure you listen to all the songs on her new album. I love the musicians she plays with and they have a real connection and chemistry. It is important to bond with the musicians and make sure everyone is on the same page. I am not sure how long they have all been playing together but one finds a blend of freedom and routine. The music is exceptionally tight and together but there are moments for free expression and improvisation. Jazz is at its strongest when there is looseness but always retains its focus. I think many avoided Jazz because of the noodling and experimental aspects – often going off in all directions and not really saying anything cohesive and productive. I do like musicians being lost in the moment but you need to tell a story and not just wander off and play whatever sounds ‘right’. Modern Jazz feels a lot more disciplined and focused but is also more genre-fusing and bold. I think grandfathers like Miles Davis and John Coltrane are in their bones and D.N.A. but look at how Jazz has grown. It is no shock it has been part of the Hip-Hop and Rap tapestry since the 1980s. Think about the glory days of Hip-Hop and how Jazz was an essential background. Modern artists like Kendrick Lamar use Jazz to heighten the music and offer something dynamic, fiery and thrilling. Jazz will always be vital in the musical landscape but I want to see it assimilated into the mainstream and used more heavily by artists there. Listen to great Jazz musicians today and you will find much variation and quality. Jazz is no longer a genre that is reserved for the diehards and the intellectuals. That might sound insulting but that slightly dusty and dry sound that used to appeal to a certain breed has gone and been replaced by a much more modern and relatable flair.

I will end things soon but want to urge people to listen to Rosie Turton and get more involved with British Jazz. This article highlights British Jazz pioneers like Shabaka Hutchings, Yazmin Lacey and Nubya Gracia – some of the most expressive and inventive players in the world right now. That feature offers some useful words and reasons why Jazz is essential right now. The artists feature mention how Jazz is changing and appealing much more to a younger audience. It is much broader and more exciting than we can imagine and there are so many clubs around the capital that are offering a space for these talented players. We also have this impression of the old Jazz clubs being all smoky and accommodating these beard-stroking quartets that are all finger-clicking and too-cool-for-school. Modern Jazz clubs offer temples for musicians to hone their craft and draw together the generations. Modern Jazz artists like Rosie Turton and Kamasi Washington are bringing more story and concept to the plate. Turton mixes together her travels and experience around the world into this variegated boiling pot. Kamasi Washington, on Heaven and Earth, brings spirituality and physicality together; a deep and proactive selection of songs that are as potent and impressive as any I have heard in the last few years. One of the challenges Turton faces arrives when it comes to accepting a female leader on the stage. Nubya Garcia, in the above feature, talked about experiences of talking to people impressed to see a young woman on the stage. They are used to men – men of a certain age – and are unfamiliar with seeing a woman lead a band or stand alone. Nobody can define modern Jazz or easily write it off. I do worry we are not willing to expand our minds and get beyond the comfortable and commercial. Modern Jazz is a broad canvas and one that offers fast-paced rides, comfortable templates and genre-fusing magic. These times are stressful and unsure and artists like Rosie Turton are providing music that provides safety, inspiration and majesty. If you do anything today, make sure you play Rosie’s 5ive and fall in love with this bold, varied and accomplished...

QUINTET of compositions.

___________

Follow Rosie Turton

Twitter:

https://twitter.com/RosieTurton

Facebook:

https://www.facebook.com/Rosie-Turton-2378642772347184/

Spotify:

https://open.spotify.com/artist/5XhOg4JXERUGJbf6DQTPdT?si=LgzarNJPSKqWZi4YGLmgaw

SoundCloud:

https://soundcloud.com/rosieturton

Bandcamp:

https://rosieturton.bandcamp.com/

FEATURE: Groovelines: Queen – Bohemian Rhapsody

FEATURE:

 

 

Groovelines

 IN THIS PHOTO: Queen in 1975/PHOTO CREDIT: Getty Images

Queen – Bohemian Rhapsody

__________

THIS feature looks at celebrated songs and how they came together...             

and the stories behind them. I have just watched the Queen film, Bohemian Rhapsody, and was amazed by everything! There are some factual exaggerations – including the fact Queen did not sell their tour van to fund their debut album; Freddie Mercury did not reveal his HIV/AIDS diagnosis to the band just before Live Aid in 1985 – but the performances are exceptional and it is great to get a closer look at the legendary band. One of the factual errors arrived when the band were presenting Bohemian Rhapsody to the record label boss, Ray Foster (played by Mike Myers in the film). There are errors and oversights in the film but it is not a documentary – they had to exaggerate some of the truth! The band’s greatest song, Bohemian Rhapsody, must have seemed like a comet from space in 1975. We have not heard anything like it since and it is a song that could only have come from the brain of Freddie Mercury. It is considered one of the finest songs ever recorded and certainly cracks my top-five. I love how it three songs squashed into one and is this quasi-operatic expression. It is one of those songs that should be a benchmark for any ambitious songwriter who does not care about limits, being commercial and following the pack.

IMAGE CREDIT: Spotify

When it was unveiled to the world, it got some average reviews and very little airplay given its six-minute-plus running time. D.J. Kenny Everitt did play it (numerous times) but very few others would touch it! Things have not really changed a lot now and I wonder whether Bohemian Rhapsody would get played on a big station in 2019. Bohemian Rhapsody did go to sell more than a million copies by the end of January 1976 and stayed at the top of the U.K. charts for nine weeks. It was re-released in 1991 following Mercury’s death and it remains one of the best-selling songs ever. Mercury wrote the song at his London home and one can only imagine what was racing through his mind as he started putting it together. Roy Thomas Baker – who co-produced the song alongside Queen – has said how Mercury played the opening ballad section and then, at a point, stopped to say this is where the Opera comes in! Imagine a songwriter doing that today and it would be met with stony faces. It is one of those songs that was in Mercury’s mind and almost complete before he took it to the band. A lot of Queens songs required a lot of studio time and attention but, in terms of effort and studio demands, Bohemian Rhapsody tops them all! Many have debated what the title refers to but there is that combination of a rhapsody and operatic drama combined with the bohemian artist being an individual.

 PHOTO CREDIT: Spotify

It sounds like a contradiction in terms – if that is the right term?! – but there is a lot of speculation as to what was in Mercury’s mind. I cannot recall whether there has been a song since 1975 that has contained so much ambition, different turns and twists and a big plot – many wonder, again, what the song is about and whether Freddie Mercury was borrowing from his own life. Although the song was completed in 1975, Mercury started writing the lyrics in the late-1960s. Lyrics from older songs were snipped and put into Bohemian Rhapsody. When the band started recording at Rockfield Studio 1 in Wales, they could not have imagined what they would produce and how it would be received. There are rumours Mercury had the song completed in his head before entering the studio and, like a conductor, guided the players and knew exactly how it was going to sound. Mercury, Brian May and drummer Roger Taylor sang their vocal parts for ten-twelve hours a day and it shows how intense things were! Can anyone imagine a modern-day band doing that?! Mercury was determined to get the sound he heard in his head so there was a lot of vocal work! He was very much in control because he wanted it to be as magnificent and grand as possible. One imagines there would have been some tense moments in the studio but all the hard work and hours led to one of the greatest songs ever.

Bohemian Rhapsody confused many at the time because it does not have a conventional structure and narrative. The song has no chorus and it was rare to hear a band stray away from love to address subjects as dark as murder and nihilism. From the narrator telling his mother than he’d just killed a man – putting a gun against his head – to the biblical guitar solo that would come, Bohemian Rhapsody is this extraordinary masterpiece that one can endlessly pull apart. Maybe Mercury was taking from his own regrets and experiences. Whether he was talking about confusion and changes or merely penning something fictional, the lyrics are certainly different and very interesting. There is the casual disregard for life – Mercury explaining how nothing really matters anymore – and this very open and honest confession. Before you get attached to this ballad and familiar sound, the song goes semi-operatic and there are a series of harmonic changes. Think of how The Beatles pushed the studio with 1967’s A Day in the Life and The Beach Boys’ Good Vibrations was a revelation; Bohemian Rhapsody was unheard of and it must have been an immense task getting it all laid down! Whether you prefer the fatalistic lyrics, the wall of vocals or the wonderful twists throughout, it is hard to beat the head-banging solo. It was immortalised for Wayne’s World and is one of the most distinctive passages in Rock history.

  IN THIS PHOTO: Queen in 1975/PHOTO CREDIT: Getty Images

Is it possible to reach that crescendo and release without letting it all go and submitting to the song’s primal and fantastic energy?! In terms of the music and structure, it was hugely progressive and would be imitated by endless Psychedelic-Rock bands. I think Bohemian Rhapsody will never be bettered in terms of its ambition because, now, we want songs to be punchy and many people do not have the patience to sit through a song that is over six minutes in length. Many have studied the lyrics and feel it is Freddie Mercury unveiling childhood fears and harsh memories. Some say the song is straight and direct whereas many others have gone in different directions – will we ever truly know the secrets and truths behind Bohemian Rhapsody?! There are reports Mercury dismissed the song as rhyming nonsense with no personal depth but maybe that was him putting people off of the scent. Musicians, critics and fans heaped praise on Bohemian Rhapsody’s complexities and genius – Brian Wilson was especially blown away and moved. Progressive-Rock definitely had its time and place – before Punk made it unfashionable – and Bohemian Rhapsody must be considered the king of all the genre’s songs. So many other bands laced together strands of songs but nothing touched the majesty and wonder of Bohemian Rhapsody. Maybe Stairway to Heaven from Led Zeppelin – released in 1971 – has that three-part stricture but is nothing like Bohemian Rhapsody.

 PHOTO CREDIT: Getty Images

It has been out in the world for forty-three-and-a-bit years but there is still that secret regarding the song’s origins. Mercury died in 1991 so we might never learn where Bohemian Rhapsody came from. The story of a guilty man wrestling against his crime and struggling with darkness might sound bleak on paper but is made to sound almost transcendent by Queen. Bohemian Rhapsody appeared on the 1975 album, A Night at the Opera, and it was a definite standout. Whilst nothing matched the heights of Bohemian Rhapsody, it was a productive and epic time for Queen – the album contained Love of My Life and You’re My Best Friend. Many polls have ranked Bohemian Rhapsody among the best songs ever and I cannot argue against that. In 2019, it is still this alien mystery that sounds like nothing else in music. It is the perfect song to disassemble and analyse. Most of the biggest songs ever are fairly straight forward and rely on lyrical power or the vocal performance. Bohemian Rhapsody has all of that but it is its operatic ambitions and sheer scale that surpasses everything else. There have been simpler songs and more accessible; there have been more immediate releases but, in all of music, has there ever been a more fascinating and strange offering than...

BOHEMIAN Rhapsody?!

FEATURE: Immune to the Muse: Why Are Women Not Being Booked as Festival Headliners?

FEATURE:

 

 

Immune to the Muse

IN THIS PHOTO: Solange is headlining Primavera Sound in Barcelona this year but is in a minority - there is still a huge male dominance regarding festival headliners/PHOTO CREDIT: Mikael Jansson

Why Are Women Not Being Booked as Festival Headliners?

__________

I am confused as to why most of the headliners out there...     

 IN THIS PHOTO: Lana Del Rey (she has been booked as a Lattitude festival headliner but is the only female headliner announced for a major British festival so far this year)/PHOTO CREDIT: Getty Images

are male but one might assume it is because a lack of quality. We are seeing the headline acts being named for big festivals and the likes of Isle of Wight and Latitude have already named their big acts. It is shocking to see only one female headliner – Lana Del Rey at Latitude – named. There are Glastonbury headliners to come but I do wonder whether there will be any sense of balance. Even if only one woman was booked for a Glastonbury headline slot, it would still mean a huge gulf and discredit. Look back through the years and I wonder whether there has ever been a time when women have been equal to men. Maybe there have been years where women have had a bigger say but, for 2019, are we really going to believe the imbalance is due to a quality divide?! One cannot even claim the names booked as headliners for this year are hitting their peak and at their most popular. If that were the case then one might assume IDLES and Childish Gambino would take some spotlight. Among the headliners for major British festivals, only The 1975 are really on the rise. George Ezra will headline both Isle of Wight and Latitude but one cannot claim he is reigning in the mainstream and the first choice. There are, among the other headliners, a collection of established acts and past-their-prime artists who are lazy bookings.

 IN THIS PHOTO: IDLES (who would make a more exciting festival headliner than George Ezra and Snow Patrol!)/PHOTO CREDIT: Ebru Yildiz

Let’s make a difference between gender equality and headline acts. Over forty-five festivals have pledged to have an equal split by 2022 but that does not mean that will include headline acts. Even if that pledge did include headline acts, why do we need to wait three more years?! Pitchfork ran a feature last year tracking the changes to festivals in regards gender:

“When we ran the numbers on music festivals last year, the gender disparity was glaring: Only a quarter of artists booked across 23 of the summer’s biggest fests were female or groups with at least one female member. Earlier this year, a group of 45, mostly non-U.S. festivals pledged to book gender-equal lineups by 2022. But where do we stand in 2018, and how much further do music festivals need to go to reach that goal?

But when you break down gender balance by festival, the results are more varied. In 2017, not a single festival reached the 50/50 male/female threshold. In 2018, three make it: FYF, Pitchfork, and Panorama. On the other end of the chart, Firefly, Bottlerock, and Bunbury barely clear the 20-percent mark when it comes to female and mixed-gender acts in 2018, though Bunbury at least doubles its female artist numbers over last year… from one to two.

We also broke down the numbers to see whether particular genres correlate with better gender balance. Of the top five best-represented genres, booking more electronic, hip-hop, and indie artists generally means more female musicians, while more rock- and pop-oriented fests drive more male-heavy lineups...

IMAGE CREDIT: @IsleOfWightFest  

Is there a big difference – in terms of gender balance – between the smaller festivals and the big players that most of us look towards?!

If there’s a common thread between the gender balance and uniqueness data, it’s that smaller festivals tend to do better on both. That dynamic suggests what could be the biggest problem with the modern festival scene: The events that can afford to take the biggest risks—the ones that sell out or come close before their lineups are even announced—often don’t. While some mid-size festivals develop their own unique character, many more emulate the industry leaders or are operated by shared promoters, creating regional mini-Coachellas that carry over or amplify systemic biases. For a brighter festival future—as measured by gender balance, genre diversity, or just plain variety of acts—the deep changes will have to happen from the top down”.

It is good that the pledge has been made but I am miffed as to why it takes three years to do something very easy. You only need to book more women and that can be done in 2019: waiting until 2022 means we have three more years of lop-sided line-ups and a lack of women at the top. There are female headliners are larger festivals but most of the bigger options go with men still.

 PHOTO CREDIT: @anniespratt/Unsplash

Not only is it bad enough to see the men dominate the headline slots but the nature of the music hardly changes – white guys with guitars. If you are going with male artists then why not book more R&B, Rap and Hip-Hop talent?! I understand the likes of Eminem and Stormzy are booked to headline but there is still a dependence on Rock bands and Pop artists. This year has started pretty badly and we all know what split will come: major festivals will have a few women on the bill but lower down whereas female headliners will occur at smaller festivals. It is great the smaller festivals do put women on as headliners but there is still an imbalance there. The only festivals I can see creating gender parity soon are those that are smaller. In fact, Primavera – a pretty big festival in Spain and Portugal – has a few female headliners for this year and they are in the minority. Maybe Coachella 2019 will show fortitude and have more than one female headliner and, when I think about it more, it is British festivals that are culpable. Last year’s Cambridge Folk Fest featured Patti Smith, Rhiannon Giddens and Rosanne Cash to top the bill but, again, it shows the divide out there. Genres like Folk are a lot more aware of gender and ensuring headliners are not all male.

 IN THIS PHOTO: Kylie Minogue is playing this year’s Glastonbury but, rather than appearing in the ‘legends’ slot, why was she not considered for the Pyramid Stage?!/PHOTO CREDIT: Getty Images

Past the Folk festivals and the smaller alternatives, what hope is there beyond that?! Not only are the majority of festivals booking more men but the vast majority have either all-male or male-dominant headliners. I do not hold much hope Glastonbury will book a female headliners (on the Pyramid Stage as opposed other bigger stages at the festival) for 2019. It is encouraging that Glastonbury have booked Kylie Minogue for the ‘legends’ slot and Janelle Monáe for West Holts - but is that small compensation? What of the biggest stages in Britain and the artists we are selecting?! They are still, and always have been, largely male. Why are festivals, large and new, still dependent on the obvious and unwilling to break from the parable?! Beyoncé, Björk and Lauryn Hill have headlined big festivals before – including Beyoncé’s Coachella-owning set last year – but why do they need to be one-offs?! Why were they not considered this year?! I always argue Beyoncé should headline Glastonbury and it has been a few years since she did. Björk released an album last year and Lauryn Hill has been touring her sole solo album, The Miseducation of Lauryn Hill. I know these women have been in the industry for a while but they are established, iconic and capable of owning the stage. Why not book Beyoncé for Glastonbury and have Lauryn Hill for Reading and Leeds?  How about the always-popular and evolving Alicia Keys for Glastonbury?! I know she would be awesome and a huge popular choice! Festivals’ sounds are always changing so I see no reason why respected female artists are not headlining.

 IN THIS PHOTO: If you want a legend to headline a major festival than why look any further than Chaka Khan?!/PHOTO CREDIT: Getty Images

One cannot say major festivals have a particular sound and have to cater to a particular audience. Glastonbury has put up Rock, Alternative and Pop headliners for years but, as they have booked Skepta this year, one cannot say they are unevolved. Even if it was pure Rock and Pop, there are women old and new who can come in. Look at the names I have mentioned and couple that with female bands like The Breeders, HAIM and First Aid Kit. Pop artists such as Katy Perry, Lorde and Taylor Swift are ready and the likes of SZA, Cardi B and Kacey Musgraves are riding high. It is clear big festivals are not beholden to new artists so, if you are heading back in time, look at Madonna and PJ Harvey as ideal headliners. Toss in St. Vincent, Tori Amos and Laura Marling and there are some ready-to-go-headliners right there. I can also list Britney Spears, Robyn and Chaka Khan who, between them, could storm any festival they headline. Female-made music is not a genre or narrow thing that is only suitable for particular festivals. People have argued there are female artists in the industry but that is not true. In fact, a large percentage of the critics’ favourite albums from 2018 were made by women and could headline right now – including Anna Calvi and Christine and the Queens. We have established the quality is out there as is the variation. Women WANT to headline so it is not a case of apathy and indifference. Also, as some have claimed, women are not approached and refuse to play.

 IN THIS PHOTO: Big artists like Lady Gaga are being overlooked when it comes to headline slots/PHOTO CREDIT: Steve Granitz/WireImage

One of Glastonbury’s excuse in 2017 – with regards a lack of female headliners – was the fact they made offers but the women were busy. Why would women be busier than the men?! There are countless options so there is never a case when female artists are tied up and unable to make themselves available. If you are linking commercial appeal to headline worthiness than you would see plenty of women eligible. From Pop newcomers like Dua Lipa and Jess Glynne to bigger acts like Courtney Barnett and Florence + the Machine. I was baffled as to why Kylie Minogue missed out on a Pyramid Stage slot because, given her career span, she could make for an epic booking. Other legends like Madonna would be perfect and there are endless combinations when you could book new and established women in any genre and fulfill the fans’ needs. I have been reading feedback regarding festival announcements and there has been a lot of anger regarding the headliners – seen as too dull, samey or irrelevant. Festivals are not only booking mostly men but they are selecting tired and uninspired artist rather than better, fresher options. GRAZIA, writing in 2017, highlighted the statistics and raised theories as to the gender imbalance:

“This summer at V Festival, Pink headlines one stage and Annie Mac the other – and if you brave the Worthy Farm mud, you can catch the likes of Katy Perry, Solange and Lorde somewhere on the Glasto bill. But these women are the minority. Just because Adele and Beyoncé (two of only eight female Glastonbury headliners ever) are on hiatus, is there really no one available to represent female artists? What about Super Bowl- smashing Lady Gaga? Rihanna, who has the third highest number of Top 10 hits of all time? Björk and her four-decade career?

IN THIS PHOTO: How long until Björk gets a headline slot?/PHOTO CREDIT: Tim Walker  

The reasons for male-dominance are many – and continually debated. Structural power in the music industry remains overwhelmingly male, with one survey showing that only 30% of senior executive roles are occupied by women. As the culture of mainstream festivals has become intertwined with lad culture and Topman slogan T-shirts, perhaps promoters, bookers and A&Rs want more of the same.

It is, like so much in the music industry, normalised to see male names appear physically bigger on flyers and social media promos, but there is a more systemic issue at stake. Who makes the decisions about who sells and who doesn’t? Who chooses who gets playlisted on Radio 1? Or has the album of the week? All these contribute to consumers’ access to artists and in turn who makes top billing because of their popularity.

Perhaps the gender split in audiences is at play. Male-dominated ticket-buying has been blamed for male-dominated line-ups but, conversely, seeing more women on-stage might also make for safer spaces for female attendees. Last year, Glastonbury featured its first women-only ‘intersectional, queer, trans and disability-inclusive space’ called The Sisterhood, in an attempt to disrupt the status quo. And sexism is just one issue: more women doesn’t automatically equal more diversity all round. More straight white women at Glastonbury doesn’t mean more female artists of colour next year, but it does present a healthy challenge”.

 IN THIS PHOTO: Emily Eavis (one of only a few female bookers/heads of major music festivals)/PHOTO CREDIT: PA/Getty Images

There are female bookers – like Glastonbury’s Emily Eavis – but there is some truth to the theory male bookers go for male artists. There are more women in the world than men and festivals are recruiting more women than ever. One thing that does cloud some festivals is sexual assault and abuse but having more female headliners would not only give them a voice and sense of safety but it would help reverse this male dominance. It is fair to say most of the decision makers – from label bosses and radio heads – are men and there has not been a kick up the arse to make them change their ways. Radio is changing a bit and we are seeing more women, such as Sara Cox and Lauren Laverne, appearing in bigger slots. Look at the total numbers and there are still more radio men than women – more in the breakfast and drivetime positions. Most label bosses and festival heads are men and the male odour continues into publishing, A&R and P.R. labels. I could rattle off the great female artists and bands coming through – including Let’s Eat Grandma, Dream Wife and Stealing Sheep – who have to look at festival bills and see that male rule. How long do they have to wait to get a shout and be higher up?! I do not feel audiences and ticket buyers would rebel and have a temper tantrum if women were booked as headliners.

 IN THIS PHOTO: Foo Fighters (who will headline Reading and Leeds this year)/PHOTO CREDIT: Getty Images

Too much power lies in male hands and it is not the case they hate female artists and do not want them to play. Look at the big record labels’ websites and you can see a fairly equal split. Most number-one singles are from men but there are a lot of great female artists visible and popular. The only real reason why men are still being booked as headliners is because that’s how things used to be. Change is a big thing but there is a risk bucking trends because, at the end of things, there is that bottom line and profit. What is a female headliner bombs or Foo Fighters are denied the chance to play?! In fact, the more I think about it, the less I understand why women are overlooked in the headline places. We have been promised gender parity in 2022 but, as I said, that does not mean headline acts will be fifty-fifty.  Music festival headliners should be based on a number of things: stage presence, experience; popularity, relevance and energy. Can anyone honestly say there is an absence of women that fulfil that criteria?! I think not. Look at this report from The Independent from late last year and there are ample options:

“The key thing about any festival is that you don’t stand still,” Benn said in February. “You can’t keep drumming up the same acts and expect people to continue to come and see them.”

The delusion in this statement is laughable. Including next year’s headliners, 11 all-male acts have headlined at least twice in the past 20 years: Fall Out Boy, Muse, Kasabian, Kings of Leon, Biffy Clyro, Eminem, Green Day, Guns N Roses, Manic Street Preachers, and the Red Hot Chili Peppers. Foo Fighters have headlined four times in 16 years...

IN THIS PHOTO: Kate Tempest has released two solo studio albums and is a respected poet, writer and playwright/PHOTO CREDIT: Eddie Otchere 

Off the top of my head, headline-worthy female acts that festival organisers could pick from for 2019 include Charli XCX, Dua Lipa, Taylor Swift, Rihanna, SZA, Florence + the Machine, Lorde, Katy Perry, Patti Smith, Stevie Nicks, Lana Del Rey, Solange, The xx, Lady Gaga, Janelle Monae, Camila Cabello, Cardi B, MIA, Nicki Minaj, the Yeah Yeah Yeahs and Bjork. The majority of those acts have either recently released or are expected to drop new albums within the next 6-12 months – and will certainly be more timely than Foo Fighters, who released their latest album Concrete and Gold in 2017.

Other female, gender-neutral or female-fronted acts that would be amazing on any number of the other stages are: Little Simz, Flohio, Anteros, Lion, Yonaka, Yaeji, Goat Girl, Sigrid, LAUREL, Kate Tempest, Cupcakke, Ms Banks, Aine Cahill, Alma, Koffee, Jessie Reyez, The Aces, INHEAVEN, Black Honey, Nadia Rose, Ray BLK, Lady Leshurr, Sleater Kinney, Jain, Haim, July Talk, Clean Cut Kid, The Japanese House, Jorja Smith, Maggie Rogers and Anne-Marie”.

Lana Del Rey is already headlining Latitude but I could name ten female artists who can headline festivals this year: Solanhe, Beyoncé; Madonna, Kate Tempest; Florence + the Machine, Lady Gaga; PJ Harvey, Janelle Monáe; Tina Turner and Britney Spears. In there, we have a nice mix of legends and newer acts and I do not see why they are overlooked. I am pretty sure every one of them would be free for a big festival and they are not reserved to the likes of Glastonbury.

 IN THIS IMAGE: PJ Harvey performed on the Other Stage at Glastonbury in 2016 but one feels it is a perfect time for a Pyramid Stage headline slot/IMAGE CREDIT: tomhermans

Isle of Wight has a Rock ethic but we have PJ Harvey and Tina Turner; Latitude could do well with Kate Tempest and Solange whereas Reading and Leeds could have Beyoncé and Florence + the Machine offer something good – Glastonbury could have Lady Gaga headline given the fact she is now an Oscar-nominated actor! There are plenty of excuses but there are no reasons and facts beyond the continued lack of female artists in the headline slots. There are waves of musicians ready to take the reins and they are not being handed them. If festivals are evolving and committed to quality then how can they rationalise booking past-the-sell-by-date bands like Foo Fighters, Biffy Clyro and Snow Patrol when there are dozens of better and more interesting female artists who could rule! We should not have to wait until 2022: action needs to be taken right now and festival organisers have to account for their inexplicable reliance on male artists. I hope there is genuine change by 2022 and, if it cannot come sooner, we need to ensure that this pledge of equality and balance...

PHOTO CREDIT: @v_well  

EXTENDS to the headline slots.

FEATURE: The January Playlist: Vol. 4: Everything in Moderation at the Better Oblivion Community Centre

FEATURE:

 

The January Playlist

IN THIS PHOTO: Florence + the Machine

Vol. 4: Everything in Moderation at the Better Oblivion Community Centre

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EVERY week seems to bring…

 IN THIS PHOTO: Vampire Weekend

more and more treats. The start of 2019 was a little slow but now, as we come to the very end of January, there is so much quality and brilliant music coming along. I expected things to heat up in February but we have been lucky to receive so much great music before then. Not only is there a Connor Oberst and Phoebe Bridgers project/album, Better Oblivion Community Centre, but we have new material from Florence + the Machine; Dido, Beck; Ward Thomas, Dua Lipa and even Vampire Weekend!

It is an exciting and packed start to the weekend and there are some fantastic tunes to get your teeth into! I am thrilled to hear so much great music arrive and cannot wait to see what we get next week. It seems there is no predicting what will come and how many big artists will release some epic tracks. Make sure you set some time aside and investigate the very best songs from…

IN THIS PHOTO: Dido

A stellar and productive week.

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

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Florence + the Machine – Moderation

Better Oblivion Community Centre – Sleepwalkin’ 

Vampire Weekend – 2021

PHOTO CREDIT: Kelsey Hart/Little Ghost

Kate Nash – Trash

Dido – Give You Up 

The Dandy Warhols – Highlife

Foals – Exits

Weezer – Take on Me

Blaenavon - Catatonic Skinbag

Mercury Rev (ft. Susanne Sundfør) - Tobacco Road

Anteros – Drive On

Ward Thomas – It’s Not Just Me

Hippo Campus – Doubt

IN THIS PHOTO: Julia Michaels

Julia Michaels (ft. Selena Gomez) – Anxiety

Beck – Tarantula (Music Inspired by the Film Roma)

Dua Lipa – Swan Song (From Alita: Battle Angel)

Grace Carter – Heal Me

PHOTO CREDIT: Fernando Oliveira

Bonobo – Ibrik

IN THIS PHOTO: Yungen

Yungen (ft. Dappy) - Comfortable

Cassadee Pope – If My Heart Had a Heart

Band of Skulls – Cool Your Battles

J. Cole – Middle Child

RAT BOY – I WANNA SKATE

PHOTO CREDIT: Richmond Lam

Broken Social Scene – All I Want

Ms Banks – Hood B*tch

Robinson – Karma

PHOTO CREDIT: Bridie Florence

Blood Red Shoes – Bangsar

David Gray – Watching the Waves 

Ashley Tisdale – Love Me & Let Me Go

Jenny Lewis – Red Bull & Hennessy

Loren Gray – Queen

PHOTO CREDIT: Dean Chalkley

Ida Mae – If You Don’t Love Me

Tori Kelly – Change Your Mind

AURORA – Animal

PHOTO CREDIT: Rob Blackham

Alice Pisano – Lost You in the Crowd

TRACK REVIEW: Kahlla - Small

TRACK REVIEW:

 

Kahlla

Small

9.5/10

The track, Small, is available via:

https://open.spotify.com/track/63dshJ8uXzZQgq1J3Xob9P?si=yNJk_z1rQzCiJFFcx_WQQA

ORIGIN:

London, U.K.

GENRES:

Pop/Alternative

RELEASE DATE:

25th January, 2019

__________

I might go on a bit of a detour...

to start this review – but it will make sense later. I will talk about Kahlla and how her international and varied past have contributed to her sound. I also want to look at how songwriters compose and what inspires their process; how honesty and revelation in song can work so long as there is substance in the song; those who are primed for success years from now – I will end by looking ahead to Kahlla’s future and where she can head. The reason I want to slightly go off the road to start is because I am listening to music right now and there is not too much that is catching my ear. Sure, I like bits and pieces coming out but there is relatively little that remains in my mind and gets under the skin. I have tried explaining this and trying to rationalise why I feel a bit distant from music but I think it is the sheer weight of the industry and how hard it is to stand apart. I am listening to a lot of David Bowie and his work prior to his ‘Berlin Trilogy’ – Station to Station is an album that I love and does not get talked about as much as it should. Bowie was always innovative and looking to take his music in different directions. Even though he was not always perfect when it came to quality, you could never call him boring and he never liked to do the same thing. I look back at the icons and innovators because they have made their mark and should act as a guide to the new generation. I wonder how many modern artists are learning lessons from the legends of old and actually realising why they sustained and continue to be talked about. Whilst it would be unfair to compare Kahlla to David Bowie, I think she (Freya Volk) is someone informed by different cultures, experiences and movements. So many artists simply stick with the same sound or do not really evolve between releases.

She was born in Amsterdam and raised in Germany – she now lives in London. I can hear the internationalism in the music and different parts of her life in every track. Like big artists such as Bowie, you get this sense of different nations and people; a more open mind and artistic soul. Stick with me on this one but I think Bowie succeeded and was so inspired because he travelled and integrated different genres into his core. Too many artists now are stiff and not willing to open their horizons. Not only does Kahlla give us impressions of different landscapes and views but the way she writes about herself and experiences is bold and honest. Kahlla left her rural home at the age of eighteen but I feel that time was instrumental to her. If she started life in the city and did not make a leap then I think her music would sound very different. I think it is the different settings Kahlla has lived in/around that has enforced her ambitions and inspired her sounds. One gets a sense of the vulnerable with Kahlla and she opens her heart to the listeners. Maybe it seems rash and hopeful thinking Kahlla’s boldness and extraordinary music can be linked to the fact she has lived in different nations – I would argue against this. If you are standing in the same spot and only have the same people around you then, unless you are very imaginative, your music will not be that broad. Kahlla has spent time in a rural setting and time in Europe. She now lives in London and a very different environment. I yearn to hear artists that have a constant need to move and grow with every release. Kahlla has a definite core sound but you can tell she is always keen to express different aspects of life and not do what so many do – just talk about love and relationships and nothing else. Her current song is about a relationship but, as you will see, it takes a different angle and is very personal to her.

Another reason I have been looking back at the legendary artists is because of how they used to write. I might have this romantic impression but it seems, more and more, artists now are relying on technology and are not actually sitting down to write. Many are using apps and recording ideas onto their Smartphones and it is a quick and easy way to compose. I know a few who will literally take pen to paper and others who are influenced by scenes around them – they photograph what they see and that translates to songs. Look at Kahlla and, in many ways, she has that romance and tradition of the older songwriter. I get the impression of the classic artists scribbling notes and projecting this very idyllic and peaceful scene. Maybe I am naïve regarding the process but things have definitely changed a lot. So many are hurrying and jotting notes between jobs and not having that much time to sit and write music. The reason Kahlla’s songs sound so complete and evocative is the way she writes and the attention paid. I like the fact there is a mix of the modern and old-fashioned when you look at her. Her music projects the impression of someone who is aware of the demands of the market and what music is popular but look at how she writes. She can be caught wandering the London streets armed with a disposable camera. Not only is it rare to find a shop that still processes photos but how often does one see anyone taking pictures the old way?! It is a charming and authentic aspect to her personality that sets her aside. I am not sure whether Small relied on photos and capturing special scenes but it is clear Kahlla is a step apart. She does not approach songwriting in a very clinical and formulaic way. I think so many songwriters are like that and their music seems to replicate a common pattern or algorithm.

I think many fear they will struggle for success and quick appreciation if they do not follow the pack or write something that is similar to everything else. Kahlla builds collages from pieces of her life and arranges them into the music. These soundscapes and striking pieces are as a result of her taking these photos and freeing her mind. She is very honest and open through her music but she is not a songwriter who simply writes about love and heartache in a very predictable way. One gets a real sense of a unique artist who wants music to be much more immerse and captivating than simply listening and walking away – she wants to bring you into the music and ensure you are walking alongside her. Kahlla was classical trained and spent time in Punk/Rock bands. She digested as many shows as possible and got a really eclectic upbringing. Again, this is similar to a lot of the legendary artists who, naturally, would evolve and shift between albums.

I also want to look at how songwriters compose and what inspires their process; how honesty and revelation in song can work so long as there is substance in the song; those who are primed for success years from now – I will end by looking ahead to Kahlla’s future and where she can head. Maybe my comparisons to Bowie were not rash and there is something in that. In any case, both of them are informed by their past and other nations – both have an attachment and link to Germany – but it is that artistic approach to music that is why I mention Bowie. He almost approached music like a canvas: not beholden to a set formula and style, he was this artist who was keen to stand out and not be easily defined. His various impressions and creations were staggering and, when I look out at the modern landscape, I do wonder whether there is any real sense of preserving that discipline. I am not sure whether Kahlla is inspired by artists like Bowie and Can but you can sense a connection. She has been influenced by years of poetry and a ‘bare-all’ style of lyrics. In many ways, each song is a collection of photos that document a very particular point in life. I love the idea of Kahlla walking around London in all weathers being moved by things around her. Whether a wintery scene or an unusual human; a perfect sunset or a very strange bit of graffiti – it all makes its way onto film and into music. Kahall is very into art and someone who is keen to express in a very evocative and physical way. Like me, she has a few tattoos but, unlike me, she has a real passion for tattoo art. She is a very striking woman in any case – my way of saying she is incredibly beautiful – but one is stunned by her tattoos and the fact that she stands out in a crowd!

One would definitely not forget Kahlla is you saw her and she is fascinated by art and culture. In many cases, she has already conceived artwork and the videos before a song is finished. Again, here is an artist who is much more involved in songwriting and approaches it from a visual and imaginative standpoint. I do think a lot of modern songwriting is quite procedural and predictable and there are very few that view music as art. When she talks about love, that is not to say Kahlla is abstract and detached. Instead of being very stark and colouring by numbers, Kahlla talks about heartache and being overlooked in a way that mixes emotionally honesty with something quite colourful and artistic. In ways, she is similar to female trailblazers like Lapsley and Phoebe Bridgers. One definitely can hear similar melodic sensibilities and a fresh, exciting approach to songwriting. What one gets with Kahlla is a definite personality. That might sound strange but she pops and resonates. Too many artists are unattractive on the page and you are not compelled by their past. Kahlla is a fascinating songwriter and someone whose creative process and imagination draw you in and keep you hooked. I am not always a fan of artists talking about love because, a lot of the time, there are clichés everywhere! I do not mind hearing about heartache and doubts so long as there is something different to be found. I have heard too many wracked and over-emotive songs that drain the energy and leave you cold. Kahlla is the same as us and goes through hard times and has to fight against doubters. Instead of being defeated and deflated, she has this strength that resounds and sparks. She is confident in her own skin and knows how strong she is. Small is about someone close who doubts her strength – whether a family member or her boyfriend – but Kahlla knows not to take the words too seriously and believe what that person thinks.

We can be made to feel inadequate and small. Whether it is someone we do not know well or a family member, it is hard to take in and can dent the spirit. Rather than believe that and let it get to you, that determination and fortitude is important. Kahlla uses this truth and direction to create inspiring songs and provide something genuinely uplifting. One gets the drum machine-led groove and soundscapes that bring in her Classical music background. It is the way she marries these rather different sounds together and comes up with something natural and unexpected – a songwriter who is taking risks and seeing them pay off. In many ways, Kahlla is the artist we need in music right now: a brave, innovative and fascinating character who will inspire many. Whether Freya Volk’s alter ego is an exaggerated sense of who she is – like Bowie and his Aladdin Sane – then I am not sure. What we do know is that Kahlla is truthful and, when it comes to matters of the heart, we are hearing Freya Volk write without disguise. Artists who obfuscate and blur their own reality behind metaphors and lies will never resonate like those who are very open and true. Kahlla might be a creation and invention but what we hear and experience comes from the woman behind her – with no sense of fantasy and lies. This is important because I find it hard to bond with many modern artists. I want to feel connected and as though I am listening to words that explain who they are and what drives them. Kahlla, on Small, battles against doubt and those who want to put her down. It will be interesting, when I get to the song, seeing whether the perspective is from a lover or someone in her family. It is a great inspiration for a song and something we can all relate to. Let me get to the song now and not leave you waiting too long.

I wonder whether there will be a video for Small because I can imagine a very vivid and memorable outlook. I would love to see what Kahlla comes up with because, as the song opens, I already started to picture scenes and the storyline – as Kahlla often envisages videos when writing songs, I am sure she has something in mind. There is almost something Jazz-like and classic about the opening of Small. Too images come to mind when hearing the opening lines. For one, I imagine the heroine in a club in the 1950s playing to this smoky room. There are no other sounds and she is under this spotlight and closing her eyes – letting her soul out and lost in the moment. The other vision I had was of Kahlla in her room with the rain beating down. She is alone but thinking about harsh conversations and troubled times. I do not know whether the song relates to a previous lover or her current boyfriend – if, indeed, she is seeing someone – but I got the view a sweetheart was in her mind. Maybe that is rash but the opening lines find the heroine wondering if she needs approval and support. Kahlla feels like they are not on her side and she really wants to be who she is – it is hard at the moment and she wonders why she cannot toughen up. Strength is not something Kahlla is lacking and I think she has plenty of guts and strength. What is most impressive about the song is how sparse the composition is. Kahlla’s voice is allowed to reign and there are a few piano notes in the background. The voice is very much at the top of the mix and it is smoky and dreamy. One can imagine Kahlla very close to the microphone and with her eyes closed – in a very intimate setting with some low lighting. The vocals soon layer and we get this sort of mix of direct and disembodied.

I like the fact the transition is quite gradual and we are not overwhelmed with sound and rush. Beauty and tenderness are present but you can feel the hurt come out. Again, I was thinking of a relationship but the words might relate to family and friends. It is hard not to think of Kahlla and her boyfriend on different pages and separating. Maybe it is an older relationship but the words sound fresh and urgent. It is clear, whoever inspired the song...they do not have faith and are not providing that support. The heroine is left to wonder whether she should go her own way and trust what is being said. She is being made to feel small and bad and this is getting to her. Kahlla knows she is strong and worth more and I do wonder how the situation came to be. Maybe there is a natural breakdown and disconnect and one is left to wonder. I feel like the other party has not been committed and is taking Kahlla for granted (I should say Freya). The heroine has been stung too often and made to feel like she does not matter. Instead of striking back against them, Kahlla has that self-belief and knows she is worth a lot. The earlier piano notes are replaced by fresh beats that click and patter with immediacy. Kahlla also does not keep the vocal projection static and, instead, moves and twists. At one point, there is this syncopated rap that is unexpected but seems to give the words even more weigh and reality. At another moment there is an almost seductive delivery and the fact we get this mixture and change keeps the song mobile and original. I hear a lot of artists who do not consider pacing and delivery but Kahlla ensures Small is always moving and never gets predictable. She is questioning her mind and wondering whether she should place any trust in her once-treasured support. It is hard to break away from someone you love and trusted but it would be foolhardy to bury anger and stay with someone who does not respect you.

When Kahlla is at her most seductive, beautiful and evocative – the vocals layer and the words rise to the heavens – I think about the cover art for Small. The image is of a small watering can and a cactus. I think of this dry and desert-based soul who used to rely on this nourishing water and substance but does not have that anymore. Maybe she needs that watering or feels like she is deserted. Maybe the sweetheart is this prickly plant and she is the life-giving force. Maybe I am over-interpreting but I feel like there is a connection between the visual image on the Small cover and what the song is trying to say. Even though she is letting her heart beat strong and asking hard questions, the vocal is light and beautiful and one gets a real rush and physicality. I do love how there is that balance of raw and hard-hitting lyrics and a composition/vocal that is soulful, rushing and explosive. Kahlla feels small in her shoes and she knows she is worth more than that. The heroine is asking questions and searching her mind but you sort of hope she will move on and not made to feel inferior. Perhaps there are issues that can be resolved but I think, when you are at the stage when you are being belittled, it is tough to come back. Maybe, again, I am thinking too much of love (rather than family) but what is left when you take away that trust? There is a physical connection and passion but the core of a relationship is trust and respect – it seems like this has been taken away. If we are looking at family and friends then that bond is important and you cannot break it. Instead, there needs to be some harsh words from Kahlla – informing them that she is not to be taken for granted and made to feel small. By the end of the track, you hope Kahlla is okay and she has been able to find some peace. One knows she will be okay but it is quite sad to realise she has been put in this situation and made to feel like this. Let’s hope whoever has committed this sin has either been spoken to or removed from her life!

I have covered Kahlla quite extensively and the woman behind her, Freya Volk. I will write a bit more because I think there is a bright future for her – and I forgot to mention something at the top. In many ways, Kahlla is this almost-flawless person. You have this very confident and stunning woman whose beauty and grace and matched with a strength and sense of rebelliousness. Her love of tattoos and artwork goes beyond her body and soul – one can feel images and art flowing through her songs. Kahlla’s music is accessible and original at the same time. You can bond easily with her but never feel like we have heard it all before. The way she mixes more Classical edges with Rock and Pop elements is fantastic. It is still early days for her but all the signs are very positive. I wanted to mention her voice and how that makes me feel. Maybe this is me getting a little gooey-eyed and smitten but it is another aspect that buckles the knees and gets into the heart. I am discovering a lot of great Pop around but the vocals seem somewhat distant or routine. I want more explosion or passion; I need that delicacy and tenderness when required. So many artists have a narrow emotional palette and their performances can come off as colour-by-numbers and flavourless. On Small, you get all these different shades and emotions and there is so much beauty to be found. Not only that but one is instantly bonded to Kahlla because there is this rawness and strength that inspires. She packs so much into the performance and, together with the excellent composition; it means you’ll come back a few times just in case you missed something! This is rare to find and another reason I believe Kahlla will go on to have a bountiful and bright career. So, then...what comes next for her and what does the rest of 2019 hold in store for the multi-talented songwriter?

I do feel like there will be tour demands and more material. She released Come with Me last year and that gained a lot of positive reviews and respect. I am seeing people react to Small and, again, the song has gone down a storm. It is not a shock to discover this but it makes me wonder what happens next. I think there is a definite E.P. inside her and, maybe in the summer, Kahlla will look to unite some of her songs into a collection. People will want her to tour and there will be plenty of demand in London. I am not sure whether she will be based here long-term – let’s hope so! – but it seems like she is happy and secure right now. There are fantastic venues around and plenty of chances for Kahlla to get onto the stage and wow the crowds. I think there will be chances for her to play through Europe and perhaps Germany will be part of that plan. It will be a busy year for Kahlla and I would not rule out some festival dates and bigger gigs. It might sound premature but there are very few artists like Kahlla. I will wrap things up in a minute but I would urge people to listen to her music and go see her live when you can. Keep a track of her social media pages because she keeps them updates. There are very few who have that combination of informative and full social media pages – with a biography and links – and some excellent photos. I am always banging on about photos and how few artists have decent ones but Kahlla, as an artist and someone visually-minded, was not going to fail. All of these elements make her much more attractive and appealing. If you get that visual aspect and know a bit about her then it adds to the music and makes for a more direct and realistic artist. If we have to have to fill in too many gaps then it gets frustrating and we move on to someone else. There is no fear here as we have this very talented and ambitious artist who has a long future ahead. Small is another fantastic bouquet from Kahlla and I feel, as 2019 progresses, we will see a lot more wonderful work and fantastic revelations from this...

INCREDIBLE artist.

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Follow Kahlla

Official:

https://www.kahllamusic.com/

Twitter:

https://twitter.com/kahllamusic

Facebook:

https://www.facebook.com/kahllamusic/

Spotify:

https://open.spotify.com/artist/0Ivh6miV0b6eX4n3OsuJPH?si=FPCxYGOvTaq6C6JlT5nIAw

Instagram:

https://www.instagram.com/kahllamusic/

YouTube:

https://www.youtube.com/channel/UCElTIV8PbRuFAf-huxwB3mA

SoundCloud:

https://soundcloud.com/kahllamusic

PHOTOS:

Ben Mcconnahie (@half.crescent)                

INTERVIEW: Katy Tiz

INTERVIEW:

Katy Tiz

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MY final interview of this week is with Katy Tiz...

who has been talking about her latest, single, Life (ft. Ed Drewett). I ask what is coming up next and why the British songwriter located to America; how she views 2018 the sort of music she grew up around.

Tiz recommends a new artist to look out for and tells me the albums that mean the most to her; whether there are going to be tour dates coming and which artist she’d support on the road if possible – she selects a recent track to end the interview with.

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

Really great! I’m currently in London and it’s getting a bit cold so I look like penguin at wrapper up walking the streets.

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

Hi! I’m Katy Tiz. I’m a singer songwriter and a part-time grilled cheese chef.

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

There is. This song has been in my life for over four years. I’ve always believed in it and it’s actually the first song that I’ve released that involved my bros (red triangle pro), so it’s a big tick in the box for me! 

I love the video’s concept/look. Did you have a lot of input regarding its direction?

Thank you! I had this concept in my head because I wanted it to be P.O.V. The only part of Life Ed and I sing to each other is the last chorus so I wanted it to tell my side of the story from his eyes. I worked with Jasper Soloff, who is just a dream. We chatted it through and he really supported what I wanted and made it come to life. We shot on 16 mm film. It was amazing!

Might we see more material coming this year? What are you working on?

Yes, you shall! I was in the studio last week. I’m feeling really inspired at the moment. It’s something I can’t force so I’m loving it.

2018 must have been a pretty busy year. Do you think you learned anything about yourself as an artist during 2018?

Yes, absolutely. I learned to stop second guessing myself. I’ve also learned how important it is to continue driving forward.

Give me a sense of the music you grew up around and when it came into your life.

Well. I used to sit in my room for hours and listen to India Arie and Alicia Keys. Believe it or not, I was really shy. I just loved listening to music and daydreaming but I wouldn’t step out of my room and sing. EVER.

 PHOTO CREDIT: Phil Knott

You are British but live in America. What was the reason for relocating and what is the music scene like where you are now?!

I’m all over the place now - and I love it because I get to work with people based all over. I really love their influence when we are in the studio. Every city brings something completely different and it keeps me on my feet. 

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

The very first phone call I got from America for my first record deal. I remember calling my brother in absolute disbelief. We were both so confused and stunned. He told me to go out, turn my phone off and have the best night of my life just in case it wasn’t real. And it was the BEST night of my life.

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

Alicia Keys - Songs in A Minor

Because she just open my eyes to music and singing.

Lauryn Hill – The Miseducation of Lauryn Hill

Because it reminds me of an amazing time in my life and becoming a proper adult.

And Spice Girls – because I am British and they are royalty. 

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

That’s a hard one...

I’m gonna go with P!nk. She’s incredible. And my rider would consist of my actual body weight in fries. (They don’t actually have to be hot because I love cold fries).

What advice would you give to new artists coming through?

Take a moment when you need it to remember why you do what you do and who you are. Listening to your own music, even the really rubbish stuff. Be your own biggest critic and biggest fan.

Might we see some solo dates a bit later this year?

Yes. I hope so! 

 IN THIS PHOTO: Reyn Hartley

Are there any new artists you recommend we check out?

Reyn Hartley. He has a song out called Snitch and it’s sick. I listen to it in the gym and walk around like I think I’m a gangster. I can’t wait to hear more music from him.

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

I love driving - it really helps me unwind. I know that is weird but I love it. I used to drive for hours and hours at night. But now I don’t have a car. 

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).

 Ok. Battle by David Guetta (my bros wrote it!)

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Follow Katy Tiz

Twitter:

https://twitter.com/KatyTiz

Facebook:

https://www.facebook.com/KatyTizMusic/

Spotify:

https://open.spotify.com/artist/2E19mfEFhCr6UgZUYJGOEW?si=Rpj-ri3cThCRhMx9I48u5Q

Instagram:

https://www.instagram.com/katytiz/

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

FEATURE:

 

 

Sisters in Arms

IN THIS IMAGE: The Coathangers 

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

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THE weather is not too bad today...

PHOTO CREDIT: Amun/PHOTO CREDIT: Chris Almeida

but it has been pretty shocking the past week or so! I am glad there is some respite from the cold and wet - but you know it will be back soon. To make sure we keep spirits high and do not drop into a slump; here is an assortment of new cuts from some of the finest female voices around. It is another packed and varied selection of songs that gets into the brain and makes the heart skip. It is clear female-led music is among the strongest out there and here is the proof! If you need something to keep the blood warm and the head swimming; have a listen to these songs and let them do their work. Maybe the cold weather will be back very soon but, with these tracks nearby, you are guaranteed a...

 IN THIS PHOTO: MAHLLA/PHOTO CREDIT: Ben Mcconnachie

WARM and nourishing blast of sound!  

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

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 PHOTO CREDIT: Luis Kramer

The Coathangers – Bimbo

IMAGE CREDIT: Spotify

Daisy the Great – Woods

PHOTO CREDIT: EmoRafsan Shakill

Vicky Emerson – Steady Heart

Amun (ft. Skrapz) – So Cold

Fiona Harte – Storms

PHOTO CREDIT: Marieke Macklon Photography   

RIDER – Tell Nobody

Tilly Valentine – Brick by Brick

Birch – Spelling Lessons

girl in red – watch you sleep.

PHOTO CREDIT: Ben Mcconnachie

KAHLLA – Small

Jenny Lewis – Red Bull & Hennessy

Rosie Carney – Awake Me

Molly Rainford – Commitment

Malory – Blue Umbrella

AURORA - Animal

Summer Walker – Settling

Kassi Ashton – Violins

BABii – SEiiZURE

PHOTO CREDIT: Gavin Smith

Lizzy Farrall - Barbados

PHOTO CREDIT: Geert Braekers

BRUTUS – War

FLØRE – Heavy Lungs

Lily & Madeleine – Analog Love

Grace Carter – Heal Me

Lil Halima – Hold Me

Rose Elinor Dougall – First Sign

Anteros – Drive On

PHOTO CREDIT: Alexa King

Joy Williams – Front Porch

FEATURE: Headline Blues: What the Hell Has Happened to British Festivals?!

FEATURE:

 

 

Headline Blues

IN THIS PHOTO: Biffy Clyro (who are confirmed to headline Latitude this year)/PHOTO CREDIT: Getty Images 

What the Hell Has Happened to British Festivals?!

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THAT may seem like a rather general and vague question...   

 IMAGE CREDIT: @OfficialRandL

but my anger and confusion is a response to the festival announcements we are hearing. A little while ago, Reading and Leeds announced their headliners and, upon first inspection, I was shocked. Aside from The 1975 – who are very in and popular right now – the rest of the headline acts are an assortment of past-their-best artists who should not be there. Foo Fighters, Post Malone and Twenty One Pilots is hardly the most exciting combination and I wonder why there are four headliners and not three – as the festivals are spread over a three-day weekend. It is a somewhat disappointing and boring headline show and it makes me wonder where the hell the excitement has gone from music! I know there are captivating artists around, many headline-ready, and they are not getting the call. Glastonbury’s first headline act, Stormzy, is more energised and interesting than the Reading and Leeds festivals’ acts and he is a black artist – the lack of diversity across the big festivals is glaring. I am fearful Glastonbury will go the same way as others and book an all-male headline line-up. I am thinking about Glastonbury and it is good they have taken a chance regarding genre and the fact Stormzy has only released one album. If there is a balance and sense of awareness then the headliners might be okay. The thing is, I feel Glastonbury will either book one female headliner or none at all.

 IN THIS PHOTO: Stormzy (the only Glastonbury headliners (Pyramid Stage) confirmed so far/PHOTO CREDIT: Shirlaine Forrest/WireImage

They might have one black artist (so far) but the gender imbalance is alarming. I cannot remember whether Glastonbury has ever booked more than one female headliner in a year and, in the last five years, it has been male-dominated! There are a lot of interesting announcements to come but Reading and Leeds sort of cemented the trait we are seeing: booking bloke with guitars and keeping it very white and male. Guitar music is great but it is in a strange and poor place right now. Other genres and sounds are more popular and the fact so many mores established acts are getting headline slots makes me wonder whether any rising artists will ever get a look in. Do we need to see Foo Fighters headline again?! They cannot bring anything new to the party and have been around since the 1990s. Post Malone and Twenty One Pilots are so unexciting and bland you wonder how many other artists were on the list when the headliners were considered! Two more festivals announced their headliners recently and it is another predictable look. The headliners, no shocks, are all bloke with guitars and they are all white. It is another case of a festival bill being filled with white artists and there is such a lack of diversity! There are some women on the Isle of Wight bill – including a headline-worthy Lily Allen – but the top-three are George Ezra, Noel Gallagher’s High Flying Birds and Biffy Clyro!

 IN THIS PHOTO: George Ezra is headlining Latitude and the Isle of Wight Festival this year/PHOTO CREDIT: Getty Images

You look at those names and wonder what is new and exciting. I know Noel Gallagher has a huge fanbase and appeals to a wide demographic but there is far less demand for his music than the Oasis heyday. He is a great live performer but he seems like that very obvious/easy headliner that can provide a few thrills but very few memories. Are we going to see Noel Gallagher’s High Flying Birds in June and come away with so many highlights and fond memories?! I do not think so. George Ezra is a popular modern artists but he is not exactly thrilling! I listen to his music and, whilst competent, it makes me very sleepy and he does not have ‘headliner’ written all over him. What demographic are Isle for Wight going for?! If Noel Gallagher is bringing in the middle-aged men then George Ezra is attracting the younger females – it is a case of trying to cover all bases without thinking of true quality and diversity. You’d hope a festival as big and prestigious as Isle of Wight would book female headliners but, alas, no! They have newcomers like Sigrid, DMA’s and Jess Glynne on their bill but there are plenty of other artists, as exciting, who could fill a headline slot. Not only is it confusing wondering who Isle of Wight are pitching to but you look at the headliners and sort of sigh.

 IN THIS PHOTO: Solange is one of the headline acts for Primavera this year/PHOTO CREDIT: Getty Images

The artists included that really annoyed me is Biffy Clyro. Like Readings and Leeds’ booking of Foo Fighters, they have gone with an established and long-serving band that have not had a big album out for years. Ellipsis, released in 2016, gained a few good reviews but did not get a lot of focus. The band have been putting out albums since 2002’s Blackened Sky but have long past their peak. Not only do festivals need to reflect what is coming through and artists who are reaching their peak but, yes, there needs to be some older acts. The mores established acts who have been around a while and already performed at festivals for years...surely they should go lower down the bill?! I look at Isle of Wight and there is nothing that would interest me in the slightest. That sentiment has been echoed on social media and it is a rather dour affair. Think, again, about the fact there are white blokes with guitars there. The same could be said, largely, for Reading and Leeds and does it fall to Glastonbury solely to rescue the big festivals?! I am aware there are smaller British festivals and European ones that are more gender-aware and booking black artists. Look at the line-up for Primavera (held in Spain and Portugal) and they have the idea! They have Solange and Erykah Badu as headliners and, yes, both women and black. There is no need to fill quotas in any case: both of these women are huge artists at different stages of their careers.

 IN THIS PHOTO: Janelle Monáe (who is confirmed to play Glastonbury’s West Holts - but one feels she is ready for a headline slot on the Pyramid Stage)/PHOTO CREDIT: Getty Images

One might argue Solange is not quite ready for headline status but she has quickly established herself as a hugely popular artist. Cardi B and Janelle Monáe are also headlining and, among their nine headliners, FIVE are women. The genre breakdown is interesting because it is less reliant on guitars and bands and focuses on genres like R&B, Soul and Pop. Look at the fact there are five black artists in the line-up and you have one of the first truly equal and progressive line-ups. I am hearing of other small festivals showing similar spirit and intelligence but, sadly, it is down to Europe to show Britain how to do it. They have shown you can book headliners and make sure there is gender and racial equality and, yes, some really exciting artists! More and more, British festivals are becoming so dull and not showing any bravery. We have many festivals in this country and I am aware the smaller ones will book female headliners and show a more exciting, diverse line-up. It is the big festivals like Glastonbury, Reading and Leeds and Isle of Wight that are leading the way and should be setting an example. It seems, this soon, Europe is ahead of us – are we sure we want to leave the E.U.?! The reason Primavera appeals to me is because they have managed to create equality but are focusing on quality.

 IN THIS PHOTO: St. Vincent - surely she is ready for headline duties?!/PHOTO CREDIT: Nedda Afsari

I have argued Beyoncé should headline British festivals – more on her later – but her sister, Solange, is as alluring, intoxicating and talented. She proved herself with the album, A Seat at the Table, and I know she will put on a storming set. Tame Impala is in the mix and he is a fantastic addition. It is a great line-up already and one that is not being mirrored over here. Another festival that announced its headliners is Latitude. It is a big festival and one that has grown from boutique status to become one of the most in-demand on the calendar. I thought, when they announced their line-up, we’d see a change and difference. I’ll give it to them, they have booked one female headliner: Lana Del Rey is long-over that exposure and is a sound booking. The other two headliners, alas, besmirch that rather bold step. Again, George Ezra is headlining. It is fine to headline one festival (I guess) but TWO?! Is there such a massive fanbase that we need him at two – so those who cannot get to the Isle of Wight can get to Suffolk?! I wonder why Latitude missed a chance and became the first major British festival to book more than one female headliner. Look at the other headliner, Snow Patrol, and there is this echoing of Isle of Wight. In fact, there seems to be this template forming that dictates British festivals.

 IN THIS PHOTO: Snow Patrol (who are one of Latitude’s headline acts for 2019)/PHOTO CREDIT: Getty Images

Snow Patrol are a band that divide opinion – I cannot stand them – but have not been popular and huge for many years. Their current album, 2018’s Wilderness, had some okay moments but hardly got sweeping positivity. They have been going since the 1990s and they have already enjoyed headline slots. It is a rather strange move to book a band that are not exactly trending and being talked about and book them as a headliner. Combine George Ezra with Snow Patrol and you have enough drowsiness in there to put down a cocaine-fuelled maniac! That may sound cold but the artists have a distinct sound that is not what you would label as exciting or universal. They have a particular set of fans but will struggle to bring in any new festival-goers. I love Lana Del Rey and feel she will bring more spark and drama but, again, her music has a dreamier and soothing edge. You have, in effect, three headliners at a summer festival that are very similar. What happened to the festivals where we had decent bands who could whip up a storm?! Maybe there was gender and racial imbalance then but you could not say our festivals lacked excitement! Whilst Latitude have female artists lower down the list – including Julia Jacklin and Nadine Shah – it is a case of the lower-downs being more compelling than the headliners!

 IN THIS PHOTO: Lana Del Rey (who is a rare female headliner (Latitude) this year)/PHOTO CREDIT: Samir Hussein/Getty Images

Why could Nadine Shah not headline?! She is brilliant and much more compelling then George Ezra and Snow Patrol! Freya Ridings is an addition that represents the new breed of Pop but, in actuality, there are countless artists who could make the Latitude line-up more balanced and exciting. They are announcing more artists soon but, once more, it is a case of blokes – minus Lana Del Rey – with guitars at the top and a lack of female and black faces on the rest of the billing. In the space of only four festivals, we have shown less diversity and excitement than one in Europe! I know Glastonbury have two more headliners to announce but I know the way things will play out. There is so much talk of artists like Sir Paul McCartney and The Cure headlining that it will mean another male-heavy year. I know those icons will certainly add plenty of fun and fascination but we are going to see another imbalanced headline line-up. I know there have been rumours Madonna could play but I think that booking is unlikely. Glastonbury have at least one black artist confirmed as a headliner but will we see another? Janelle Monáe is already confirmed for Glastonbury but not as a headliner on the Pyramid Stage. I think that is a mistake and wonder why she was not booked as a headliner?! She could bring an awesome show and it is a case of Glastonbury recognising artists who are popular but not understanding the fact they are strong enough to headline.

 IN THIS PHOTO: Beyoncé absolutely stormed her headline show at 2018’s Coachella/PHOTO CREDIT: GQ

I know at least one of the other two headline slots will go to a man and I think we will only see one black artists headline. If there was one female artist headlining you could say there is equality in terms of race and gender but there isn’t. There is so much talk and discussion regarding gender inequality at festivals and, with an opportunity in front of them, British festivals are not taking a chance to act. Dozens of festivals have pledged to make their line-ups gender-equal but that promise means we have to wait until 2022! Why does it take THAT long to do something simple like changing your practices?! It is staggering to think this is almost like a punishment and they will leave it until the last moments. Primavera is setting an example and showing how you can book fascinating artists and make sure there is equality in terms of sound, race and gender! It is no shock to see Britain lagging because we always assume we are right and seldom are. Our smarter cousins in Europe are embarrassing us and I suspect America will follow suit – their bigger festivals have always shown more equality. One can argue back the fact last year’s Coachella had two male headliners. Beyoncé headlines but she was sandwiched between The Weeknd on the Friday and Eminem on the Sunday. It is true there is gender inequality but there are two black artists headlining and, again, exciting sounds…

 IN THIS PHOTO: The Cure (who are one of the hot favourites to take one of the last of the remaining two Glastonbury headline slots)/PHOTO CREDIT: Getty Images

Eminem produced an electric and incendiary set whilst The Weeknd provided a terrific set. Beyoncé, mind, showed why the 2022 pledge regarding gender is insane. She absolutely stormed the Saturday and produced one of the finest headline sets in the festival’s history! I know it might be expensive to book her but why was she not first on the list for British festivals this year?! Coachella is a huge festival and I am looking at confirmed artists for this year and there is a pleasing balance regarding genres, gender and race. I am not sure who will be headlining yet but I am confident it will be similar to last year in terms of the captivation quality. You go to festivals and want those big and exciting acts. Coachella is leaving the likes of Reading and Leeds in the dust! Look underneath the 2018 Coachella headliners and there are artists who could graduate to the headline slots. Cardi B and HAIM missed out last year but would you bet against them?! One artist who was at Coachella last year and, I feel, should be headlining festivals here is St. Vincent. She is strong enough to command the biggest stages in the world and I am curious why she has been overlooked. Why are major British festivals willing to book great artists lower down the bill but have such boring and blokey headliners?! Headliners should be the main draw and the reason many of us go to festivals.

 IN THIS PHOTO: One of Reading and Leeds’ headliners this year, Twenty One Pilots/PHOTO CREDIT: Getty Images

Sadly, we have a lot of interesting music that is not on the headline stage and the main events are rather lacklustre. I am getting sick of Britain being behind the rest of the world when it comes to equality and what you want from headline acts: plenty of memories and fun. Think about Beyoncé’s Coachella hurricane last year and she was more impressive than every headliner booked for the major festivals in this country in 2019! I look back at past years and, sure, there have always been issues regarding gender and race but, man alive, there was quality and excitement! From the Britpop and Grunge theatrics to the best Glastonbury has offered us...what has happened to British festivals?! I understand festivals are more than the headliners and there is plenty of quality when you look at the bills. The headliners should, you think, be about the best and most interest acts but that is not the case at all. Not only does true gender equality need to happen quicker than 2022 but bookers need to think about the sounds and type of artists they are booking as headliners. Right now, the summer’s headliners are not exactly turning heads and there is that mix of has been bands and lots of blokes with guitars. In years to come, people will look back and wonder what represented music in 2019. Look even further and we can be proud - but is this really what British festivals are about now?! I do hope Glastonbury pulls something epic out of the hat regarding their remaining two headliners because, as it stands, British headliners are...

IMAGE CREDIT: Getty Images

A rather boring and predictable headache.  

INTERVIEW: Jolé

INTERVIEW:

Jolé

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IT has been great learning more about Jolé...

and his incredible world. He has been discussing his latest single, Seldom Seen, and revealing its inspiration. I was eager to learn when music arrived in his life and whether there are particular records that have informed him and inspired what he does – he recommends some approaching artists to follow.

I ask whether there are tour dates and, if he could support anyone on the road, who that would be; whether he has a favourite memory from his career so far and how he chills away from music – he chooses a great, if underappreciated, song to end the interview with.

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

Hey! I’m good, thanks. My week has been great. It snowed, so that was fun!

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

Sure. My name is Josh and I go by ‘Jolé’, which was a nickname at school…I write lo-fi- Pop with Folky elements.

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

I wrote this song at a time when I was trying to hold down about four jobs and do music. It’s a song about trying to escape the troubles of everyday life and when you just don’t want to be seen. Cheerful!

Are you planning on more material for later in the year?

Yes. Definitely. I believe this year will be a busy one!

2018 has ended and I wonder how you view the year that has just gone. Do you think you grew as an artist throughout?

2018 was a really great year for me. Although I didn’t release any music as Jolé, I was constantly writing and also working behind the scenes to build up the team that I work with now. I am super-lucky to have had the opportunities given to me in 2018 which set me up for 2019. I definitely grew as a songwriter and artist; I have been learning a lot! 

You have spent a few years with various bands but are now solo. What do you think you have learned from the time in those bands?

How to cope with touring...

I haven’t done it for a while but we were pretty much constantly on the road for five years. It was great fun with my best mates but it definitely takes its toll! I feel a lot more prepared for it now.

Give me a sense of the music you grew up around and when it came into your life…

My first experience of music would have to be Van Morrison. Apparently my mum and dad used to play his music when my mum was pregnant with me. They would play him and The Beach Boys when I was quite young. When I was a bit older, I remember going through their record collection and really taking a liking to Abracadabra by Steve Miller Band. I used to listen to the seven-inch on-repeat. The first album that really grabbed me was Parachutes by Coldplay. I remember hearing it for the first time at my cousin’s house and falling in love with it.

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

I went to Budapest over summer to play a couple of shows which was pretty ace!

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

Coldplay - Parachutes

(For the reasons I mentioned earlier).

Sufjan Stevens – Carrie & Lowell

This is one of the most heartbreaking, beautiful albums I have heard. I saw it live and it was the best.

The Beach Boys – Pet Sounds

I love the sounds on this album and my first show I went to was Brian Wilson playing it in full!

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

I would love to support Beck! My rider would be just be stacks and stacks of flapjack and sweet (I have a sweet tooth), Mezcal and fresh lime.

What advice would you give to new artists coming through?

Be nice to everyone. It’s a small world.

Do you think there are going to any tour dates coming up?

Yes. Definitely. Should be releasing some soon!

Is the stage somewhere you love to be?

90% of the time, yes!

 IN THIS PHOTO: Matt DiMona

Are there any new artists you recommend we check out?

Really enjoying a guy called Matt DiMona at the moment. Harvey Causon is wicked; King Princess is awesome too!

 IN THIS PHOTO: Harvey Causon

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

Not really! I love my job so it’s hard to switch off but I love to listen to podcasts and read too. That’s probably how I tend to relax.

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

Let’s say….Ed Prosek – I Was Wrong. I’ve been listening to that a lot recently

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Follow Jolé

Twitter:

https://twitter.com/Jolemusic

Facebook:

https://www.facebook.com/thisisJole/

Spotify:

https://open.spotify.com/artist/293DzAwiQQs4mkeOzQ6lOu

Instagram:

https://www.instagram.com/jolemusic/

 PHOTOS:

Doug Elliot

FEATURE: Director’s Cut: Spike Jonze: His Ten Finest Videos

FEATURE:

 

 

Director’s Cut

IN THIS PHOTO: Spike Jonze/PHOTO CREDIT: Brigitte Lacombe/New York Magazine 

Spike Jonze: His Ten Finest Videos

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MY first foray into Director’s Cut saw me focus...          

 PHOTO CREDIT: Lance Acord

on my favourite music video director, Michel Gondry. I love his work and the fact it can only come out of his brain! The same can be said of Spike Jonze. I am featuring another iconic director and, when honing down to ten videos, it is quite a hard task! The hallmarks of a Jonze video the fantastical and strange. It will make more sense when you see the videos but I love the fact he can bring us into his odd and beguiling world and create these unique videos. I recall discovering his work at a young age and having my eyes open, in a vivid manner, by these wonderful videos. Where Gondry experiments with multiple images and creating these very big and colourful palettes; Jonze plays more with the sunny and delightful. He has produced some darker work but I think Jonze’s main asset is the ability to make you smile and get into this very giddy and safe headspace. That might sound strange but you just need to look at the videos and you will definitely have your spirits lifted.

 IMAGE CREDIT: Getty Images

I wanted to highlight Spike Jonze because, really, there is not a director like him around today – apart from him, of course! I yearn to see these videos that are evocative and often inexplicable; strangely beautiful and incredibly imaginative. Although his best work was created years ago, Jonze is still working hard and remains one of the most gifted directors out there. There are some Jonze videos that are pretty big-budget but he was able to create chills and thrills without creating these flashy and overly-complex scenes. So many artists out there have very little money in order to create videos so I think Spike Jonze should act as a guide. His wonderful body of work has inspired new directors but, really, he is in a league of his own. Have a look through the selected ten Jonze gems and I am sure you’ll agree he is a dazzling and stunning visionary. I have my personal favourite – I shall keep that secret until the end – but I am sure you will find a video from the pack that strikes your mind. I wonder whether Jonze has any videos planned coming up and what his next work will be. Whilst pondering that, enjoy this assortment of visual wonders and discover why Spike Jonze is considered one of the best music video directors...

 IN THIS PHOTO: Weezer in 1994 (Jonze directed the band’s finest video, Buddy Holly, in 1994)/PHOTO CREDIT: Jim Steinfeldt/Getty Images

THERE has ever been.

ALL SINGLE/ALBUM COVERS: Spotify

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Björk - It's Oh So Quiet

Pitch: The video begins as Björk emerges from an extremely dirty washroom in an auto shop. She dances along with the auto workers for the first chorus before emerging from the shop. During the second chorus, she dances tap with a few people outside of the auto shop. Björk continues to walk along the street, dancing with several elderly women and their umbrellas before settling to rest her arms on top of a mailbox for the final verse.

The mailbox comes alive and dances along with Björk during this chorus. Björk then runs down the street and into the road, where the rest of the town has decided to join her for one large dance number. The video ends with Björk floating up above the townsfolk and hushing the viewer.

Song Release Date: 13th November, 1995

Album: Post (1995)

Standout Moment: (1:44-1:53): Björk emerges from the auto shop and dances with a delivery worker who lifts her onto the bonnet of a car with delight.

Daft Punk – Da Funk

Pitch: It focuses on the character Charles (Tony Maxwell), an anthropomorphic dog in a leg cast with a crutch wearing urban clothing. Charles, who has lived in New York City for only one month, is shown walking around with a boombox blasting Da Funk at a high volume. His hobbled walk is made fun of by a pair of children. He is turned down when he attempts to participate in a public survey. His boombox annoys a bookseller on the sidewalk from whom Charles buys a paperback novel entitled Big City Nights.

Charles meets a woman named Beatrice (Catherine Kellner), who was once his childhood neighbour. They agree to have dinner together at her home, traveling by way of a city bus. Beatrice boards the bus, but Charles is startled by a sign stating ‘NO RADIOS’. As he is unable to turn off his boombox (which is earlier indicated to have a broken/missing volume button) he reluctantly remains at the bus stop, as the bus drives off with Beatrice. Although there has been a lot of debate as to the symbolism and meaning of the video, Thomas Bangalter (Daft Punk) has said there is no meaning and it is as we see on screen – and hopes there will be a sequel one day.

Song Release Date: 1995 (Soma)/December 1996 (Virgin)

Album: Homework (1997)

Standout Moment: (4:52): Beatrice is on a bus that leaves Charles. There is a pained look on her face as it drives away leaving Charles on crutches looking solemn.  

LCD Soundsystem – Drunk Girls

Pitch: Like quite a few Spike Jonze videos, this one sees an interplay between animals and humans. Where his work for Daft Punk on Da Funk projected a human as a dog and there was this cute unfolding story; Drunk Girls is a more eye-watering and unhappy tale that was co-directed by James Murphy (LCD Soundsystem). Murphy and bandmates Nancy Whang and Pat Mohoney are trying to sing and are abused by people dressed as pandas – if there was a single hallmark of a Jonze video it is humans dressed as animals! Shot at Factory Studios in Brooklyn, New York, it is one of his simpler videos but is incredible effective and, yes, fun. Strangely, as LCD Soundsystem are being attacked, you sort of root for the pandas – or is that just me?!

Song Release Date: 3rd May, 2010

Album: This Is Homework (2010)

Standout Moment: (1:00-1:16): James Murphy attempts to remain calm as two panda-people pour confetti/glitter on his head and poke him – eventually pushing him away.  

LCD Soundsystem - Drunk Girls from DFA Records on Vimeo.

Sonic Youth – 100%

Pitch: The video was directed by and Jones (and Tamara Davis) and shot in Los Angeles. Much of the video footage was shot by Jonze while riding on a skateboard, following others in the streets (including then-skateboarder, now-actor Jason Lee). The video also alluded to the shooting death of Joseph Cole (an American actor shot during an armed robbery) - but is not specifically about him and more about friendship between two skateboarders. Sonic Youth is shown playing a house party throughout the film. Kim Gordon plays a yellow Fender bass guitar - which she borrowed from actor Keanu Reeves.

Song Release Date: July 1992

Album: Dirty (1992)

Standout Moment: (1:24-1:28): A shot of skateboarders riding through traffic, shot in black-and-white, is a particularly memorable image.

 

Weezer – Buddy Holly

Pitch: Whereas a couple of Spike Jonze’s best videos are co-directs, this is the man himself solo and creating one of the most iconic videos ever. Buddy Holly’s video was filmed at Charlie Chaplin Studios in Hollywood over the course of one full day of shooting. The video portrayed Weezer performing at the original diner Arnold’s Diner from the 1970s T.V. show, Happy Days. The video combined contemporary footage of the band with clips from the show. Happy Days cast member Al Molinaro made a cameo appearance in the video. Molinaro plugs his hometown, Kenosha, Wisconsin, as the hometown of Weezer in the introduction - though the band, in fact, was formed and based in Los Angeles.

In the climax, the video's stylist Casey Storm body doubled, and this allowed Fonzie to dance to the band's performance. The video also features brief cameos by some members of the band as dancers at Arnold's.

Song Release Date: 7th September, 1994

Album: Weezer (1994)

Standout Moment: (2:07-2:09): The Fonz (Henry Winkler) is seen striding in the diner and, after shooting a nod of the head and a smile, walks out of shot.

 

The Breeders – Cannonball

Pitch: The video for Cannonball was directed by Jonze and Kim Gordon (Sonic Youth). It features the band in a garage and the Deal sisters in what seems to be a dressing room trashed with clothes, sitting in a chair together. There are also shots of a cannonball rolling down suburban streets, as well as a shot of Kim Deal underwater.

Song Release Date: 9th August, 1993

Album: Last Splash (1993)

Standout Moment: (2:00-2:03): That infamous and ultra-cool shot of Kim Deal singing underwater is pretty hard to top!

The Chemical Brothers – Elektrobank

Pitch: This is another solo outing for Jonze and, again, is truly iconic! It depicts a mixed artistic gymnastics competition with his future-wife, Sofia Coppola as one of the competitors. It is an original angle for a music video and one that captivates in its simplicity and delight. It has been dubbed one of his best videos and a lot of people love it – not hard to see why!

Song Release Date: 8th September, 1997

Album: Dig Your Own Hole (1997)

Standout Moment: (4:15-4:21): One of the competitors, played by Sofia Coppola, injures herself whilst performing a move and we see her pained face. The camera pans to her coach who is stoic and then to a couple of smug women in the crowd who take great delight in the setback.

 

Wax – California

Pitch: There are few videos with a simple pitch that manage to stun you into disbelief! In fact, the premise is simple yet shocking: we follow a man on fire as we track him in slow-motion. He runs through the streets and everyone sort of gets on with their day. It is not truly explained whether this is self-immolation or a protest; a joke or something else. The video is just over two minutes in length and, as the final shot sees a child asleep on a bus, one wonders whether the images are a dream or emphasis regarding the casualness or people around this horrific event – it is a hot and sweaty day so maybe it is too sweltering to notice anything around.

Song Release Date: 1995

Album: 13 Unlucky Numbers (1995)

Standout Moment: (0:02-0:45): The stunning transition from seeing the man’s legs on fire – taking up the bulk of that time – to seeing the face and arms. The man, rather humorously, seems to be checking his watch as though he is on a timed run!

 

Fatboy Slim – Praise You

Pitch: I have saved two of Jonze’s very best for the end! This one, actually, was another co-directed – this time with Roman Coppola. Jonze starred in the film under the pseudonym Richard Koufey, along with a fictional dance group: The Torrance Community Dance Group. The video intro described it as ‘A Torrance Public Film Production’.

The video was shot guerrilla-style – that is, on location without obtaining permission from the owners of the property – in front of puzzled onlookers outside a movie theatre in Westwood, Los Angeles. In the video, Jonze and the dance group, acting as a flash mob, dance to Praise You, much to the chagrin of a theatre employee who turns off their stereo. One of the actor-dancers in the fictional dance group, Michael Gier, documents the making of the Praise You video on his website.

The Praise You video was made only because Jonze, unable to work with Fatboy Slim on the video for The Rockafeller Skank, recorded and sent his own solo dance video to ‘Skank’ as a gift; Jonze's 'alternate' music video was so well received by Slim that Jonze's fictional Torrance Community Dance Group was green-lighted for the official video for Praise You.

Song Release Date: 4th January, 1999 (U.K.)/16th February, 1999 (U.S.)

Album: You’ve Come a Long Way, Baby (1998)

Standout Moment: (2:20-2:34): That dude has some mad skills!

Beastie Boys – Sabotage

Pitch: I have saved the best for last: the majestic video for Beastie Boys’ Sabotage (and my favourite video from Jonze)! The song's music video  was played extensively on MTV and is a homage to, and a parody of, 1970s crime-drama shows such as Hawaii Five-O, The Streets of San Francisco and Starsky and Hutch. The video is presented as the opening credits of a fictional 1970s-style police show called Sabotage, with the band members appearing as the show's protagonist. Each band member is introduced as a fictional actor, and the names of the characters are also given.

The characters appearing on the show are (in order of credits):

·         Sir Stewart Wallace guest-starring as himself (played by MCA)

·         Nathan Wind as Cochese (also played by MCA)

·         Vic Colfari as Bobby, ‘The Rookie’ (played by Ad-Rock)

·         Alasondro Alegré as ‘The Chief’ (played by Mike D)

·         Fred Kelly as Bunny (played by DJ Hurricane)

Some scenes had to be removed when the video was shown on MTV, including a knife fight sequence; a falling-off-a-bridge scene, as well as a scene in which a man is thrown out of a car into a street. 

Song Release Date: 28th January, 1994

Album: Ill Communication (1994)

Standout Moment: (1:52-1:54): The miscreant the band is chasing (as detectives) ‘falls’ from the bridge (a very obvious dummy) in a really funny shot.

(Thanks to Wikipedia for information regarding various music videos)

INTERVIEW: Lauren Ray

INTERVIEW:

Lauren Ray

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TODAY’S interview is with Lauren Ray...

who has been telling me about her new single, Irreplaceable, and what its background is. I ask about her musical tastes and albums that are important to her; what we can expect from her forthcoming album, Woman in the Arena – Ray selects some rising artists to watch out for.

I was keen to know whether there will be solo tour dates and how she feels about supporting Paul Carrack (Mike and the Mechanics) on tour; how she unwinds from music – the songwriter picks a great song to ends things with.

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

Hello! I am very good, thanks. My week has been pretty busy (but great) with my new single being released; the album being announced and the tour supporting Paul Carrack starting.

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

I am a singer and a songwriter living in London. I write songs at the piano about my experiences with romantic, platonic; family, lost, unrequited and toxic love. I recorded my first album in Nashville, releasing it in 2016 - and I have just recorded my second album here in the U.K. which will be out in May.

Can you reveal how your new single, Irreplaceable, came together? Is there a story behind it?

I wrote this song with a writer friend of mine, Noraay, who we also wrote Dull Ache and What Would You Do? together. This song is about two relationships: one with someone who makes me feel completely irreplaceable and another with someone previous who made me feel otherwise. This was subject matter I’d wanted to write for a while and it was great having another perspective there to help shape it. We wrote it in a couple of hours and I quickly knew what I wanted for the sound but didn’t think this would end up being the first single.

Julian Emery produced. What was it like working together?

I’ve wanted to work with Julian since I heard Lissie’s debut album ten years ago - so it was pretty amazing to have the opportunity to work with him on my own music. He completely respected my ideas for each of the songs and then brought so much of his own vision to the table that these songs became so much more than I could have imagined on my own.

I understand there is a new album, Woman in the Arena, out in May. What can you say regarding the themes that are explored throughout?

I tackle stories of love, loss; death and infidelity in ways that I hope speaks to those that listen.

How do you think you have changed as a songwriter since your debut record?

I have definitely grown as a writer. I really wanted to push myself of this new record and write more honestly than ever before and then put them out there with a different energy.

When you were young, which artists were you drawn to? Did your parents influence your tastes at all?

I mostly listened to whatever was on the radio growing up. So, for my time, it would have been a lot of Spice Girls, Destiny’s Child; Lauryn Hill and Norah Jones. I was definitely drawn to female vocalists more than the boybands of the day. My mum listened to Fleetwood Mac and a lot of the music from the ’70s, so that probably influenced me too.

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

The day I sat down and played my finished first album from start to finish and then seeing people buy it in HMV was mind-blowing.

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

Ooooh. Hard to choose - as there are so many incredible albums that I love - but I will pick these three albums because they remind me of being young and being inspired by female writers so they will always mean a lot:

Lauryn Hill – The Miseducation of Lauryn Hill; Alanis Morissette – Jagged Little Pill and Sia – Colour the Small One

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

A few of my top choices today would be Coldplay and Leon Bridges (just so I could see them play each night too).

What advice would you give to new artists coming through?

If you love it, work hard at it – then get a lawyer to check contracts when opportunities come knocking.

You are supporting Paul Carrack (Mike and the Mechanics) at the moment. How did you come to work with him?

My team put me forward for the opportunity and I guess Paul and his manager thought I would be a good fit for his audience. It’s such a great opportunity and it’s been amazing getting to see Paul perform each night.

Might we see some solo dates a bit later this year?

Yes! I will be touring my new album when it’s out so keep an eye out for those. I will definitely do a handful of shows with a small band and then I will do more solo/acoustic shows.

IN THIS PHOTO: Emilie Nicholas/ PHOTO CREDIT: Pernille Sandberg

Are there any new artists you recommend we check out?

Emilie Nicolas! She isn’t necessarily new but I love her. Also check out emawk who I discovered the other day.

 IN THIS PHOTO: emawk

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

Like most other independent artists, I have side hustles and side-jobs to keep the bills paid and the music coming out but, when I’m not doing all of that, I love going for walks; I love cooking and just hanging out at home with my partner.

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’ve been listening to his Good Things album on loop recently so play Leon Bridges – Shy

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FEATURE: Station to Station at Forty-Three: Here Comes The Thin White Duke

FEATURE:

 

 

Station to Station at Forty-Three

IMAGE CREDIT: Spotify 

Here Comes The Thin White Duke

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I will cool it on the David Bowie...                                

 IN THIS PHOTO: David Bowie prepares his Thin White Duke makeup in his room at L'Hotel in Paris in May 1976/PHOTO CREDIT: Andrew Kent

pieces in 2019 but, as he is dead, you cannot object me mentioning him! There are Bowie albums that warrant some serious love and, when the anniversary arrives, we need to throw a spotlight on them. The reason I want to feature Station to Station is because of the period in his career it arrived. Although the album contains only six tracks, they are not your usual short and punchy Pop songs that people were putting out at the time. Critics noted how, oddly, Station to Station is one of Bowie’s most accessible and complex albums. The songs are not that mad but there are some Avant-Garde offerings – TVC15 is Bowie singing about his fancy new piece of technology. His tenth studio album followed Young Americans (1975) and was part of his ‘Berlin Trilogy’. Whereas Young Americans embraced Plastic Soul and was a more accessible album, Station to Station introduced this new sound. Bowie boasted a few different personas in his career – including Ziggy Stardust – but The Thin White Duke made his first appearance in 1974 but is synonymous with Station to Station. The looks of The Thin White Duke are based on the character Bowie played in the 1976 film, The Man Who Fell to Earth. The character gained controversy because of pro-fascist statements and, although Bowie got flack for saying them, he said they were theatrical statements. Perhaps the erratic comments of The Thin White Duke and the somewhat ‘diverse’ music on Station to Station can be attributed, in some part, to a reliance on cocaine – it was a drug that would soon consume David Bowie.

Station to Station transitions from Young Americans and, after Station to Station, he would go to record the remarkable Low. There was still the Soul and Funk of Young Americans on Station to Station – noticeably Golden Years – but there were elements of Electronic sounds inspired by groups such as Neu! and Kraftwerk. The Berlin Trilogy, recorded between 1977-1979 with Brian Eno, ranks alongside Bowie’s most fertile and extraordinary period – and it would all begin with this rather wonderful and unique record in 1976. Genres are blended throughout Station to Station. Krautrock and Pop fuses with Funk and Avant-Garde. Many dispute how much cocaine Bowie was consuming but it was clear it had a hold on him. Between 1975-1976 he was eating poorly and his interviews were becoming more and more bizarre. Bowie was clearly in a bad state but, musically, The Thin White Duke was alive and well. Bowie would often be seen in a white shirt and black trousers/waistcoat; inhabitation this persona and, unlike the warmer Ziggy Stardust, this character was not that warm – the nastier and darker sides of Aladdin Sane being highlighted and lit on fire! It is amazing to listen to the album in all its wonder and, to the casual ear, you would assume this is Bowie operating as normal. Most artists who were struggling with drugs and mental-health issues would not be able to produce anything at all, let alone one of the best albums of the 1970s.

Station to Station was, according to some, recorded over about ten days – others claim that it was as long as three months. Henry Maslin and David Bowie produced the album and it was a feverish time of creativity. Bowie was clearly inspired and, though he claimed to recall little of the recording and what was actually going down, he spoke fondly of the album after its release. It is no wonder Bowie was a bit pleased because, even though there are not that many tracks, every one of them is a stunner and you get so much range! The sound of Station to Station is a bit icier and Funk-Rock-inspired than a lot of his earlier works. The music is experimental and confident; extending from the work on Young Americans to include more machine-like elements and the core of The Thin White Duke. Station to Station is eerie in some moments but compassionate and tender in others. It was David Bowie not wanting to repeat what had come before but keen to incorporate new sounds and take his music in a new direction. One might think a somewhat cold and bold album would not appeal and, whilst some were not sure what to make of it upon its release, the nuance and brilliance of the album reveals itself the more you listen. Golden Years is the most instant track on Station to Station and is seen as a slightly rougher version of Young Americans – Bowie regretting missed opportunities perhaps (although it was originally written for Elvis Presley; Bowie’s then-wife, Angie, claimed it was written for her).

Bowie, at this stage, was incorporating Christian elements into his work. Word on a Wing is hymnal and it is a fascinating song. Bowie, later, realised the song was a cry for help from his darkest days; a chance of salvation and a calling out for some form of compassion. The similarly-titled Wild Is the Wind is one of Bowie’s greatest performances to that date and was, apparently, inspired by a meeting with Nina Simone. It is not all serious on Station to Station. There have been different account of what TVC15 is about and where it came from but there is an account that says it is about Iggy Pop’s girlfriend being eaten by a T.V. set – although this might be an exaggeration. It is one of the most upbeat singles on the album and one of the catchiest. One of the most obvious hallmarks of Station to Station is how detached it sounds. Bowie admitted this himself – he felt the album was fascinating – but that is no surprise considering where his head was then. I think this is one of the reasons why the album is so appealing and intriguing. Look at the experimental nature of Station to Station’s title cut and the two-part suite: starting from the piano-driven sound, it is an eclectic, ambitious and truly wonderful song. What was the reaction to this album that was unlike David Bowie had ever put out before?!

Released on 23rd January, 1976, Station to Station reached number-three on the Billboard chart of the best L.P.s. It remained there for thirty-two weeks and certified gold by the RIAA on 26th February, 1976. Contemporary reviewers loved songs like Golden Years but less impressed with the ten-minute title offering. Some were isolated by the artier sound whereas some felt the record was a leap forward for Bowie and one of the best records of his career. If some were confused by the fact Bowie could never sit still, others revelled in the genre-fusing spirit and loved how he could join disparate artists/genres and make something new and truly wonderful. Pitchfork , writing in 2010 (reviewing the Deluxe Edition of Station to Station), has this to say:

“By the mid-70s, it was customary for pop stars to sing of their disillusionment with fame (see: John Lennon/Plastic Ono Band, Neil Young's On the Beach) but they usually did so in an insular, introspective fashion, after they had gained some distance from the storm. By contrast, Station to Station finds Bowie expressing his weariness while the party was still rages on around him; even in the midst of his "Golden Years", he's yearning to "run for the shadows."

In essence, the album is a cry for help from the champagne room: On the hymn-like piano-ballad "Word on a Wing", the career chameleon decries this "age of grand illusion" (tellingly, this LP's Thin White Duke persona would be the last character Bowie introduced), while the title track's momentous prog-disco suite-- with references to Aleister Crowley and Kabbalism-- charts a course from spiritual void toward ecstatic religious reawakening. "It's not the side effects of the cocaine," Bowie declares as the song hits its funky, 4/4 stride, "I'm thinking that it must be love." Rarely have delusions been rendered with such grandeur”.

IN THIS PHOTO: David Bowie at Ahoy Rotterdam – The Netherlands on 13th May, 1976/PHOTO CREDIT: Gijsbert Hanekroot

It is the period after Station to Station that interests me. Bowie was clearly burned out by working on the album and The Man Who Fell the Earth but it would not be too long until the world received Low. Bowie scrapped the soundtrack idea and toured Station to Station. It was here that many got to see The Thin White Duke in the flesh. Dressed in his smart finery, Bowie would emerge as this almost spectral figure and was deeply inspired by the Germanic Expressionist film style. Bowie was keen to be as theatrical and striking as he could and, on that tour (which ended on 18th May, 1976) he definitely achieved that. Station to Station is considered one of the finest albums of the 1970s and many debate whether it is Bowie’s finest hour – there is tough competition but Station to Station is definitely one of my favourite. In many ways, the epic Low was a continuation of the work Bowie did with Brian Eno on Low. Station to Station was hugely influenced on Post-Punk and this new ‘Ice-Funk’ sound inspired countless artists. Not only was Bowie himself compelled by his own experimentation but (Station to Station) made a huge impact on music and opened so many minds. So many Bowie albums would and do inspire but you can hear aspects and hints of Station to Station in the work of so many other artists.

One listens to Station to Station and almost forgets Bowie was so troubled and disconnected. This article from Rolling Stone, written a year ago today, highlighted Bowie’s intensity during recording:

“...As always, Bowie worked feverishly. Musicians got used to being called into the studio at any time of day. “I remember one night when we didn’t even have the studio booked, and I was at the Rainbow Bar and Grill,” recalls Slick. “As we used to say, I was ‘under the weather.’ Suddenly, one of the roadies comes in. They search the whole place and find me at a back table. He says, ‘Time to go to work.’ I say, ‘It’s one in the morning, and I’m drunk.’ He says, ‘That’s OK. David’s at the studio. There’s a car outside.’ So I paid my tab, jumped in the car and worked all night. I mean, that was not an unusual thing to happen”.

Bowie, as the article states, was not sure what was going to come next and it seemed, in 1976, he was very much open to options and not willing to limit himself:

“I haven’t a clue where I’m gonna be in a year,” said Bowie, after Station to Station was released in January 1976. “A raving nut, a flower child or a dictator, some kind of reverend – I don’t know. That’s what keeps me from getting bored”.

 

Alex Needham, writing for The Guardian in 2010, explained why Station to Station remains so dear to him:

“Then there's the mythology. Being a teenager, I was particularly susceptible to the stories about this record – that it was made in a cocaine blizzard in LA that involved witchcraft, the collecting of Nazi memorabilia and an exorcism that left a silhouette of Satan stained on the bottom of a swimming pool. Yet despite the fact that Bowie was at his maddest (he told NME that Britain needed a fascist leader a few weeks after the album's release in 1976), and so out of it that he can't even remember recording the thing, Station to Station is almost frighteningly accomplished, with a glittering, malevolent glamour I've heard on no other record...

It's the tension between the artifice and the emotion, the sheer enigmatic complexity of what's being expressed, and the uncanny feeling that the band are creating something that's not entirely down to their own consciousness that has kept me listening to Station to Station for more than 20 years. The cocaine had one welcome side-effect: the fact that Bowie doesn't remember making it means it will never be demystified, and the Duke's corrupt glamour will therefore never fade”.

In many ways, Station to Station is too good to be picked apart or repeated. Bowie was working like few others in 1976 – taking Pop music and stretching it in new directions without the sound losing its integrity.

 IN THIS PHOTO: David Bowie in 1976/PHOTO CREDIT: Getty Images/PA

That was a bold and brave thing to do and a reason why Station to Station, for many, is seen as his greatest work. Station to Station prefaced the Electronic revolution that would come in the second half of the 1970s and, whilst not instantly accessible and hit-filled; the beauty of the album is its textures, nuance and incredible sense of confidence. David Bowie might have been in a weird space in 1976 and cannot really remember much of recording the album. He loves how it sounds and he was clearly inspired throughout. The six tracks are varied but hang together incredibly well; the album seems strange and disconnected but it is actually an accomplished, cohesive and spellbinding record that stands up to endless listens. As always, Bowie was restless and keen to avoid being seen as boring – given the majesty and genius on Station to Station, that was never going to happen. Bowie would find stability and clarity soon enough but Station to Station, on its forty-third birthday, marks a time in his life when there were questions, doubts and demons in his mind. The Thin White Duke’s comments and philosophies might have offended some but the music being produced cannot be faulted. I would urge young listeners and those unfamiliar with Station to Station to investigate because (the album) the songs, whilst they might take a few spins to resonate, are striking, original and hugely evocative. It may be forty-three but, in many ways, Station to Station...

CAN never age.

FEATURE: The Oscar Nominations 2019: The Songs and Musicians Grabbing Attention

FEATURE:

 

 

The Oscar Nominations 2019

IN THIS PHOTO: Bradley Cooper and Lady Gaga (who are nominated in the Actor in a Leading Role and Actress in a Leading Role categories at the Academy Awards 2019) in A Star Is Born (which has also been nominated in the Best Picture category)/PHOTO CREDIT: Getty Images

The Songs and Musicians Grabbing Attention

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RIGHT now...

 IN THIS IMAGE: Bohemian Rhapsody has been nominated for five Oscars, including Best Actor in a Leading Role for Rami Malek (Freddie Mercury) and Best Picture/IMAGE CREDIT: Getty Images

the Oscar nominations are coming in and, actually, the full list has been announced. You can look at the list here and have a look at all the great actors, films and talents recognised. It is good to see a nod for Olivia Colman in the Actress in a Leading Role category but, alongside her, is Lady Gaga. It is not unusual to see musicians nominated for acting awards...or, thinking about it, it is! I cannot really remember the last year a musician was Oscar-nominated but it has been a while. It is rare to see but how many of us would have guessed, years ago, Lady Gaga would be among the Oscar chasers?! It is not completely imponderable – as she is an incredible live performer – but few knew she had acting aspirations. Her turn in A Star Is Born won rave reviews and the film itself has scooped a total of five nominations – including one for Bradley Cooper as Actor in a Leading Role. I have seen bits of the film but I know what a powerful and natural performance Lady Gaga turns in and why praise is warranted. I can see her going on to make a lot more films – like Madonna did through her career – and I wonder, when the Oscar winners are read out, she will scoop the Actress in a Leading Role?! It would not be against the odds and would add to her list of accomplishments.

Lady Gaga is taking part in her Las Vegas residency at the moment and gaining huge reviews. It is a busy time for her and I know things have not always been easy for her. We have seen, in the past year or two, reports of her suffering from illness, exhaustion and depression and there was a fear she would need to take time off or an extended break. The power and determination of Lady Gaga cannot be extinguished and she has managed to have one of the most successful years (2018) of her life. Although she has not released an album since 2016’s Joanne; I expect she will put out another album soon but she has definitely been keeping busy. The chemistry between her and Bradley Cooper in A Star Is Born is electric. Shallow is also nominated in the Original Song category and it will be interesting seeing if Lady Gaga walks away with two Oscars! Most Oscars won by musicians are for scores and songs and it is unusual to see them win for their acting. It is testament to Lady Gaga’s abilities and adaptability that she must be among the favourites to win. Some might say her role as an aspiring and talented artist is not a huge stretch but, actually, it is. She has had to embody the role of Ally and it is very complex performance. In the film, Jackson ‘Jack’ Maine (Bradley Cooper) is a famous Country singer and is privately battling alcoholism. He visits a drag bar where he sees waitress/songwriter Ally performing – from there they form this bond and embark on a wonderful relationship. The film does have a sad end, actually, but I won’t spoil it for you – you’ll have to watch it yourself!

 IN THIS PHOTO: Lady Gaga was nominated for two Golden Globes in regards A Star Is Born (Best Performance By an Actress in a Motion Picture - Drama and Best Original Song - Motion Picture (for Shallow) and won for Shallow (alongside Mark Ronson, Anthony Rossomando and Andrew Wyatt)/PHOTO CREDIT: @ladygaga/Getty Images

Pitchfork had this to say regarding the nomination of Lady Gaga and whether the film’s narrative runs close to Gaga’s own life/music:

“The biggest obstacle faced by Cooper, the star, director, and co-writer of the latest take on A Star Is Born, is making a knowing audience believe that Lady Gaga, international superstar, needs to be discovered by Jackson Maine. There is, perhaps inevitably, no separating Gaga’s own persona from the movie’s narrative. Even Cooper’s improvised insults in the film mirror those faced by Gaga herself (“ugly”). “The world had to match her, because if the world’s not authentic, and then you have this authentic person in it, it’s going to, like, destroy the whole film,” Cooper told New York Times writer Taffy Brodesser-Akner.

Until now, Gaga has only appeared in small but somewhat memorable acting roles, first in a pair of Robert Rodriguez films and then within Ryan Murphy’s “American Horror Story” universe. In Rodriguez’s grimy action movies, she played alluring femme fatales—a shapeshifting assassin in 2013’s Machete Kills and a big-hearted waitress in 2014’s Sin City: A Dame to Kill For. Neither role really gave her a chance to exercise any depth. Though Gaga’s performance on “American Horror Story: Hotel” won her a Golden Globe in 2016, the role of widowed fashionista The Countess played off her own image rather simplistically.

In A Star Is Born, this side of Gaga comes out after Ally’s rise but it takes a more vulnerable, nuanced performer to get her there. It would be easy for her story to feel stale given that A Star Is Born is on its fourth version, starting in 1937 with Janet Gaynor, continuing in 1954 with Judy Garland, and turning its eye toward rock‘n’roll in 1976 with Barbra Streisand...

 

It’s this level of meta storytelling and characterization that not only makes the new A Star Is Born more compelling than ever before, but also turns Gaga’s performance into a postmodern spectacle. It strikes me as analogous to the decade-long trend of “autofiction,” which describes a literary quasi-genre that blends fact and fiction and has been applied to the likes of Ben Lerner, Sheila Heti, and Karl Ove Knausgård. Fiction writers have always done this to some extent, but autofiction seems to revel in the unstable nature of this balance, using autobiographical details when it suits them but otherwise making things up as usual”.

“The reception to the film, like its previous versions, has so farfocused on the needs of an entertainment industry devoted to the young, hooked on the latest thing, inevitably replacing the old. This is true to some extent, but what makes A Star Is Born stand out this time around is the way Gaga’s own career adds context to age-old arguments about authenticity and commerce. Lady Gaga and Ally are separate entities, each in her own way a construction of reality and artifice, and each complicating the myth that art and fame can’t be reconciled”.

It is great to see a well-known musician nominated for an acting award and I think, in many ways, it will encourage other artists to act. It is always hard to naturally transition but Lady Gaga’s performance in A Star Is Born has gained some incredible feedback. It is not often we get to see musicians highlighted for acting reasons so I was pleased to see her nominated. She has already won awards for that role and I suspect it will be tough to fend off actors like Olivia Colman and Glenn Close on the night (who knows what will happen!). There are great nominations for songs and scores but there is a lot of talk about Bohemian Rhapsody. The film has scored multiple Oscar nominations and, aside from a nomination for Best Picture, Rami Malek also gets a nod for his role as Freddie Mercury. It is great to see both Bradley Cooper and Rami Malek nominated for their turns in musical films. There were some mixed reviews regarding the film and Malek’s performance in the lead role. Many disputed the accuracy of the film and whether it was fabricating and exaggerating. In the film, Freddie Mercury is seen telling his bandmates about his HIV diagnoses before they play Live Aid but, in reality, those events happened a long time apart. There are flaws with the film but it has been lauded and fared really well at the box office. Malek, especially, radiates as Mercury and seems to embody his physicality, mysteriousness and complexities.

Bohemian Rhapsody has experienced a rather rocky production and I did not think it would make it to the screen. Contrary to rumours Sasha Baron Cohen was signed to play Freddie Mercury, that has been refuted: Rami Malek was the only actor who signed for the role. It is unusual seeing a film nominated for an Oscar having received mixed reviews. I do not think it will win the Best Picture category – considering Black Panther and BlacKkKlansman are listed alongside The Favouirte and A Star Is Born – but you never know how it will do. Whatever you think of the film and its drawbacks – not a lot of time was spent covering Mercury’s sexuality and private life – it is a rare success and something that should be celebrated. Music biopics are notoriously hard to get right and resonate so it is humbling to see Bohemian Rhapsody up for Oscars. I think Malek stands a good chance of winning and, although he might seem like an outside choice, I would not write him off so easily! I think more and more filmmakers will come forward and do biopics given the success of Bohemian Rhapsody – in the same way more musicians will try and follow in Lady Gaga’s lead. It is an exciting time for music on the big screen and I always delighted when a music film/biopic does well. The more ‘traditional’ music categories, Original Score and Original Song, are interesting this year.

In the song category, Shallow has gained a nod. It is not just Lady Gaga that gets the credit. Mark Ronson, Anthony Rossomando; Andrew Wyatt and Benjamin Rice helped put the song together so, if Shallow wins, they will all get credit. Black Panther’s All the Stars (Kendrick Lamar and SZA) sits alongside I’ll Fight (Diane Warren, Jennifer Hudson) from RBG. It would be great to see Jennifer Hudson win the Oscar as she gives a superb performance on I’ll Fight! Mary Poppins Returns’ The Place Where Lost Things Go (by Marc Shaiman and Scott Wittman) is nominated and When a Cowboy Trades His Spurs for Wings from The Ballad of Buster Scruggs is included. It is a hard category to call but I think it will go to a musician. I feel either All the Stars or Shallow will win. The work of Kendrick Lamar/SZA is very different to that of Lady Gaga (and co.) but they are the two that stand out. Bradley Cooper also performs on Shallow but I would like to see Lady Gaga win at least one Oscar. The fact Black Panther has made history as the first black superhero film to receive Oscar attention makes me root for All the Stars. The category is at its most broad for 2019 and it will be interesting seeing who wins. I feel 2019, more than any other year in recent memory, has put music at the forefront. We can say more conventional films/actors dominate but we have a music biopic and a musician in a leading role making headlines. The Original Song category is always hotly-contested but I predict Black Panther’s All the Stars will win. Many were perturbed to see an absence of Thom Yorke on the list. The Radiohead frontman was expected to be nominated for his track, Suspirium (from Suspiria), but has missed out!

The Original Score category, like its Song counterpart, is all over the shop! Mary Poppins Returns is nominated and that sits with BlacKkKlansman (Terence Blanchard) and Black Panther (Ludwig Goransson). In the past, the Oscars (or Academy Awards, to give their proper name) has been accused or racial bias and ignoring black actors/films. Isle of Dogs (Alexandre Desplat) and If Beale Street Could Talk (Nicholas Britell) are nominated but I think it is a race between BlacKkKlansman, Black Panther and, oddly, Mary Poppins Returns. No offence to Mary Poppins and her magic but I think the winner will be Black Panther. It will make history – no black superhero film has won an Oscar – and something that we need to see. The score is incredible and perfectly soundtracks the film – that is what it is meant to do but it is incredibly fine. I have not watched Black Panther but I have heard the score and it is a wonderful collection of moments.

I cannot rule out BlacKkKlansman but I think Black Panther will win the Oscar. Even if Lady Gaga and Rami Malek do not win in their categories and the music-related films do not do well at the Oscars, it is important to see these films/actors nominated and in with a shout. I do feel Lady Gaga/Bradley Cooper will have a good shout regarding the song category but it will be hard for her and Rami Malek to triumph in their respective categories – against really tough competition and award favourites. However they do, it is a great one for music and will lead to more music biopics and musicians-as-actors coming out – at least I hope so. I cannot wait to see the Oscars read out and, given the fact you can never predict who will win, we might see a win for Bohemian Rhapsody and...

A Star Is Born.

FEATURE: Vinyl Corner: The Beach Boys – Pet Sounds

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Spotify 

The Beach Boys – Pet Sounds

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THIS is the feature that...

 IN THIS PHOTO: The Beach Boys’ (left to right) Bruce Johnston, Brian Wilson; Al Jardine and Dennis Wilson recording Pet Sounds/PHOTO CREDIT: Capitol Photo Archives

spotlights particular albums that sound mighty fine on vinyl! They are great however you play them but truly come to life when you pop them on the record player and drift away. I have been meaning to feature The Beach Boys’ Pet Sounds for a while now. The reason I am bringing it up today is the fact the band went into the studio on this day in 1966 to start recording Wouldn’t It Be Nice – it would open Pet Sounds and is one of The Beach Boys’ most iconic numbers. One cannot think of the 1960s and the best albums of all time without mentioning Pet Sounds. I was heavily into The Beach Boys as a child and my first exposure to them was their surf music. I adored classics like Surfin’ U.S.A. and something about these songs struck me. They were tight, upbeat and sunny and, where I was living, I could only imagine what it was like to surf in California and see what The Beach Boys were seeing. Things changed on 16th May, 1966 when Pet Sounds came along. Only the year before, the band put out Beach Boys’ Party! and that, as the title implies, was sort of a continuation of the more upbeat and surf-sounding songs that had come before. The eleventh album from The Beach Boys was, strangely, met with lukewarm attention when it was released!

It is hard to think of another album that gained so much more positive attention retrospectively – maybe Beastie Boys’ Paul’s Boutique came close! The album did make the top-ten but it was a relative disappointment for the band. I guess, in 1966, bands like The Beatles and The Byrds were ruling; there was a lot of Psychedelic influence and iconic songwriters like Bob Dylan were entering new creative phases. Perhaps Pet Sounds was a bit unusual in the context of 1966’s music but, I suspect, few were ready for the new creative phase of The Beach Boys. When we become familiar with an artist and their style, it can be hard adapting and accepting something different. The fact it is seen as one of the most progressive Pop albums ever drills down to the issue: critics and fans were not ready for something so forward-looking and advanced. The new partnership of Brian Wilson and Tony Asher hit its peak and, whereas Wilson took charge of all the arrangements and compositions, Asher was responsible for creating these stirring and timeless lyrics – most evocatively on the album’s standout, God Only Knows. Wilson had quit touring with the band the year before to focus on writing and, between January and April 1966, one of the world’s greatest albums was laid down. It is nice to think there was this sort of one-upmanship between The Beach Boys and The Beatles.

 IN THIS IMAGE: The Beatles’ Rubber Soul (1965) inspired Brian Wilson whilst making Pet Sounds/IMAGE CREDIT: Spotify

Wilson confessed his love of The Beatles’ Rubber Soul (1965) and he wanted to make the greatest Rock record ever. In some ways, Wilson had The Beatles in mind when composing The Beach Boys’ masterpiece – I often wonder whether The Beatles’ Revolver (5th August) was a response to The Beach Boys’ wonder-work?! One reason why Pet Sounds is perfect for vinyl is all the unusual elements and sounds that one can discover. There are French horns, Coca-Cola cans and bells (among many other things) that go into the variegated mix! Unified by A Phil Spector-style Wall of Sound production, the album is, literally, a combination of Brian Wilson’s ‘pet sounds’. It is debatable whether the mono or stereo version of the album is truest and most spectacular but I guess, if listening on vinyl, one has to go stereo – I have included the mono version at the end because it sounds pretty good when heard through headphones. The Beach Boys had laid rest to their beach-themed music by summer of 1964 and were starting to look for a new direction – All Summer Long marked the end of an era in many ways. Various factors contributed to The Beach Boys’ sonic change. Brian Wilson had retreated from live performance – compounded by a panic attack he suffered on a flight – and he was experimenting with psychedelic drugs. The band’s horizons were opening and, when Wilson met Asher in 1965, it was a wonderful unity – Asher was working as a jingle writer at the time and few realised what lyrical gifts lurked within him!

Wilson and Asher began swapping ideas and working on this new venture. Wilson loved Asher’s coolness and intellect and was intrigued by the lyrics he was coming up with. The two had this instant connection and would talk long about their lives and experiences in love. In many ways – and as Asher himself stated – Wilson was the guide of the lyrics; Asher was an interpreter and creator. It was a fantastic partnership that spawned this genius album. The two worked together for a few weeks where they would trade ideas and come up with these incredible songs. Many see Pet Sounds as a concept album because of its uniformity and musical brilliance – less to do with lyrical themes and story. Wilson’s then-wife did, to a degree, inspire songs such as You Still Believe in Me and Caroline, No, but can one call love a concept?! Wilson loved the fact The Beatles created Rubber Soul and did not include any filler tracks. That record is a complete and extraordinary statement so, in that vein, Wilson wanted to produce his version. Wilson was deeply influenced by Phil Spector and learned of his production style through taking sessions with him. Pet Sounds contains a lot of Spector’s hallmarks and that distinct production style. Many saw Pet Sounds as a Brian Wilson solo album because of the decrease in harmonies – something that defined The Beach Boys in the early days.

The band was still united but one can hear more of Wilson’s direction and life on the page than before. The fact that a lot of their previous work was more general and throwaway – in the sense the songs were pretty short and the lyrics did not dig as deep – led many to believe that, when presented with this personal and emotional record, it was Wilson’s true self coming out! The band (minus Wilson) were touring whilst Wilson was putting down ideas and, by the time they returned, a large proportion of the album had been created/realised. If the music on Pet Sounds sounds tight, flawless and natural, that was not always the case. The rest of the band wanted something simple and commercial whereas Wilson knew the band had to grow and try something fresh. This led to conflict and disagreements and there was a notable tension in the studio. The rest of the band were not sure what the words were about and what meaning they held. A lot of their surfing songs were about girls, fun and good times but, when presented with romantic odes, passionate pleas and these complex songs...they were befuddled and they seemed completely foreign. The Beach Boys had I introduced similar themes (to Pet Sounds) on 1965’s Today! (that included the classic, Help Me, Ronda) but their new album was on a different plain.

 IN THIS PHOTO: The Beach Boys relax away from recording Pet Sounds to hang with a giraffe/PHOTO CREDIT: Capitol Photo Archives

If the band were on different pages regarding Pet Sounds’ themes and complexities then they had to reconcile quickly. Some of the songs were simply updates and step-ups from previous Beach Boys songs. Wouldn’t It Be Nice has shades of We’ll Run Away but, as many critics noted, these newer tracks were more symphonic, personal and stirring. It is clear the period around Pet Sounds’ release was hugely productive and revolutionary. Many overlooked the album because The Beatles’ Revolver arrived very soon after. They, of course, had a bigger following and many overlooked the fact Brian Wilson’s production was as special and important as The Beatles. If Pet Sounds did not captivate all critics when it was released, its retrospective acclaim and legacy had made up for that. It is rightfully seen as one of the most important albums of all time and songs like Sloop John B and Wouldn’t It Be Nice are ranked alongside the best Beach Boys songs ever. I shall come to God Only Knows in time but, when thinking about the reviews that Pet Sounds has accrued, it is amazing to think anyone would not understand and connect with the sheer beauty. AllMusic had this to say:

“The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best). Massively influential upon its release (although it was a relatively low seller compared to their previous LPs), it immediately vaulted the band into the top level of rock innovators among the intelligentsia, especially in Britain, where it was a much bigger hit”.

Rolling Stone, writing in 2001, noted the evolution of The Beach Boys and Brian Wilson’s development as a composer:

“Recorded and released in 1966, not long after the sunny, textural experiments of "California Girls", "Pet Sounds", aside from its importance as Brian Wilson's evolutionary compositional master piece, was the first rock record that can be considered a "concept album"; from first cut to last we were treated to an intense, linear personal vision of the vagaries of a love affair and the painful, introverted anxieties that are the wrenching precipitates of the unstable chemistry of any love relationship. This trenchant cycle of love songs has the emotional impact of a shatteringly evocative novel, and by God if this little record didn't change only the course of popular music, but the course of a few lives in the bargain. It sure as hell changed its creator, Brian, who by 1966 had been cruising along at the forefront of American popular music for four years, doling out a constant river of hit songs and producing that tough yet mellifluouis sound that was the only intelligent innovation in pop music between Chuck Berry and the Beatles”.

I honestly think Pet Sounds could be considered if it contained God Only Knows and some inferior songs. The fact there are so many other genius offerings makes it an embarrassment of riches. There is a lot of affection for songs like Wouldn’t It Be Nice but one cannot deny God Only Knows is the leader of the pack!

There are thirteen songs on the first side of Pet Sounds and, as you put the needle down, you’ll experience the likes of Wouldn’t It Be Nice and Don’t Talk (Put Your Head on My Shoulder). The second side has Pet Sounds and Caroline, No in the mix but it opens perfectly: the majestic and unbeatable God Only Knows. There is that great mix of older Beach Boys elements – great harmonies and plenty of upbeat – but God Only Knows showcases the more emotionally rich and tender side to The Beach Boys. Fuelled by Tony Asher’s incredible lyrics, it is one of the greatest love songs ever penned. Because the song mentioned the word ‘God’, it caused some confusion. It was rare for a Pop song to do that and people were over-interpreting. The song could be addressed to any higher force as it is more about moving on after loss rather than praising a deity. Whereas the song was produced by Brian Wilson and he composed it, it was Carl, his younger brother, who sung the lead vocal. Backed by, among other things, French horns, violas and accordions, it is a complex song that many have studied ever since. The fact there are perpetual rounds in the coda and it has a definite signature means it was vastly different to anything that came out at the time – one can argue nothing since then has made such an impact.

Brian Wilson has said no one woman was the inspiration for the song: it was a vision he and Asher had about being blinded that hard. Its emotional directness and incredible composition make it a standout from an album overloaded with brilliance. The song was lauded by none other than Paul McCartney. He cites it as his favourite song ever and, I am sure, that will never change. God Only Knows often tops the ‘greatest songs ever’ lists and its sheer grace and heavenly tones cannot be disputed. Listen to the song on vinyl and you get this incredible rush and impact. The entire album is a perfect vinyl choice and, after one listen, you are hooked and invested. You do not need me to point that out but there are people out there who have not heard the whole album and would have missed some of its gems.

IN THIS PHOTO: The Beach Boys attract the attention of some goats during the promotional shots for Pet Sounds/PHOTO CREDIT: Capitol Photo Archives

Pet Sounds is great electronic but you do not get the same magic as you do hearing it on vinyl. On 16th May, Pet Sounds turns fifty-three and, I hope, will be discovered by a new generation. It is amazing to think that, fifty-three years ago today, The Beach Boys stepped into the studio to record Wouldn’t It Be Nice. I wonder whether the band knew that, in just a few short months, one of the best albums ever would be completed – I guess that was Brian Wilson’s intention all along! I am not shocked the album has inspired so many people and it is still being talked about today. Such is the complexity of the music and the directness of the lyrics that they stimulate your heart, soul and mind. I am struggling to think of another Pop album that is so rich and unique. It is a testament to Brian Wilson’s ambition and Tony Asher’s lyrics that Pet Sounds is revered as this titanic musical creation.

Every great album warrants focus and celebration but, after all this time, Pet Sounds is still inspiring musicians around the world. It is hard to say exactly how many current artists owe a debt to The Beach Boys’ 1966 masterpiece. Every complex Pop arrangement and harmony-laden beauty...I think of The Beach Boys and Pet Sounds. Alongside Rubber Soul and Revolver; Pet Sounds inspired post-1965 Rock music. Many groups in Britain responded by pushing the studio and being more experimental. One can argue The Beatles’ exceptional curiosity and work on Sgt. Pepper’s Lonely Hearts Club Band (1967) can be traced back to Pet Sounds. Alongside The Beatles, The Beach Boys helped bring more harmony and instrumentation into music – replacing dancing music into more intellectual and emotional cuts. In many ways, Brian Wilson is a leader for Indie musicians who were compelled by his melodic sensibilities. One can hear shades of Pet Sounds in albums like Pinkerton (Weezer) and Transatlanticism (Death Cab for Cutie). Maybe a lot of Hip-Hop artists in the 1980s and 1990s ridiculed The Beach Boys but, like critics in 1966, they were naïve and not yet mature enough to understand the album’s brilliance – that would change and, soon enough, some Pet Sounds-esque tones were being picked up by black artists. If you have not discovered Pet Sounds or are yet to buy the vinyl, make sure you rectify this and let it all sink in. Many in 1966 were not fans of the album but, very soon, many would (rightly) recognise The Beach Boys’ eleventh studio album as one of...

THE finest in all of music’s history.

INTERVIEW: Emmi

INTERVIEW:

Emmi

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IT has been a while since I have included Emmi...

on my site but it is always a great experience! She has achieved a lot since I last featured her so I was keen to ask about her recent E.P., Lovers, and the music that will follow; what life is like now she is based in New York and whether she has any particular albums that mean a lot to her.

Emmi discusses her plans going forward and how she would sum up last year; whether there is a routine regarding her songwriting and which rising artists we need to get behind – she ends with a recent song that is new to my ears.

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

Hey, Sam! My week has been grand, thanks. Just got back to New York from a little time with my family in Oz. Did my taxes. Bought a new keyboard. Life is good.

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

Sure! My name is Emmi. I make music. I used to only do that for other people until a few years ago when a (wine-infused) conversation with my mum woke me up to the realisation that I had an itch to be an artist in my own right. Once I was aware of the itch, I realised it wouldn’t go away until I, well…scratched it. So, I started releasing tunes from my bedroom.

And, because the Internet is a brilliant surprising beast, great stuff happened: a tweet from Taylor Swift; a role in a movie; features in Europe. So much cool stuff. So, I figured I maybe had a place at the table of music and went away a while to come up with a big plan and get a team. And now I’m back…with said plan.

I understand you have recently moved to New York. What prompted that decision and how is life there at the moment?!

It was half a personal circumstance and half a career choice. I really connect with music makers in the U.S. And I realised I was spending months in London gathering inspiration (it’s genuinely my favourite city in the world) only to return to L.A. like a coiled spring and write a hundred songs at once. And I’ve always wondered what kind of damage I could do if I spent some actual time in the U.S. – and I didn’t have to leave every time things got exciting.

So, here I am. But, living in New York and commuting to L.A. makes more sense of my character. I’m a story teller. And perhaps it’s a form of masochism but I need the cold streets and the rude people; mad people, lovely people and the full complement of human beings and all the struggles and victories that go along with that to draw on.

I want to feel I’m living on the ground, if that makes sense. You get that in London. And you get that in New York. It’s fuel to me. But, I find after six weeks in L.A., the quinoa and palm trees and perpetual sun and air-punching and “You go girl!”s  start homogenising my style. So, I got to get back to reality and get some frost back in my bones, you know?

Lovers is your latest E.P. I like the fact the songs seem to tell a story. Did a particular relationship inspire the songs or was it something you had been planning a while?

Not any one relationship, no. (Sorry not to be saucy and give you gossip). It tells the story of a relationship from start to finish, but the fictional story it tells is made up of my experiences across a couple of relationships in my past so it’s totally honest in that sense. And specifically those moments in relationships I went through that felt confusing or scary to me at the time, but that are pockets of relationships and love I don’t think get enough air time in Pop music. The awkward meeting (instead of the ‘I’m hot, you’re hot: let’s get together’ script we are so often sold in Pop culture)…

The ‘making it official’ conversation. The fear of allowing yourself to love again or, God forbid, be happy after you’ve been hurt. The question of monogamy and the boredom of long-term relationships. All of it. I always run on the belief that, if I’ve felt it, I’m more than likely not the only one. So just write it.

Do you have a personal favourite song from Lovers that strikes you hardest?

I think the most honest ones for me were Scared Stupid and The Way We Used To…

Scared Stupid is the closest to talking about my anxiety I have ever come. About my inability to fully enjoy any pleasure or joy in my life because of how quickly I play out the worst possible scenario in my head and talk myself out of the present. So, although that tune is a bit tongue in cheek and melodramatic, it’s a fairly honest monologue.

The Way We Used To was a song I’d been trying to write for a while. We don’t talk about long-term relationships in Pop. (Perhaps because it’s not sexy?). But I wanted to change that given I would say half of the world’s population are in one. It’s about the war between loving someone deeply with a long history but simultaneously wishing to be ‘new’ to someone. It’s human nature to want to be exciting. To want that rush. That’s why people throw themselves out of planes or go on rollercoasters. To feel ‘alive’. And being faithful to someone is the decision to fight that desire with the wisdom that all that sh*t is fleeting and love doesn’t get a second chance. I wanted to write a love song from the perspective of someone who has those instincts but doesn’t act on them. Making it a little sadder, when the lover she is singing to perhaps does act on their own similar instincts later in the story.

But, honestly, Stay Awake the last track on the album is like a child to me. I wrote it six years ago. On the floor of a studio in Hamburg. I can’t explain it. But, it’s special. So special.  Live, you really feel that. We wrote it about two stories at once. One: A young couple, newly in love, not wanting to say goodnight because they just want to spend every waking minute with each other. Two: An old couple at the end of their lives together, not wanting to say goodbye. I guess the point is, when it comes to love goodbye, will always be too soon. That one felt it dropped out the sky and wasn’t from me at all. The best ones always do. And I’m just so glad it’s out.

Might we see any more similar playlists/E.P.s? What can we expect in 2019?

Yes, sir! I announced a trilogy in September: Lovers. Players. Dreamers. One/three, Lovers, is out now – so, you got two more coming! And they all have a different concept. A different visual world. Different characters, almost. (Perhaps a throwback to my past as an actress). I don’t like to make promises, but I’d say you can expect playlist-two, Players, this year, if not three. And you can expect a full-length album this time. Each playlist gets bigger and bigger. Both in size and grandeur of concept and overall ambition. So, sit tight…

Last year was a busy one for you! How do you feel about 2018 looking back?

I see it as a little more of a personal development year than anything. There was a lot of me running around London in a super hero cape with mates and a handy-cam acting a dork. It was an indie, fun and exploratory kind of year. Perhaps that doesn’t sound like personal discovery to most…but it was a part of a new era I’m entering that I like to call the ‘fu*k it’ era. To be totally unashamedly myself and just create music; get it out and stop taking myself so damn seriously. We did it with practically zero budget and this release was almost a dialogue between me and my fans. No grand push or promo. Just a quiet release, like…’Hey I’m back. Thank you for being here! Here’s some music. And a promise I’m not going anywhere’.

And it’s been really fun getting to know them all personally; overcoming my fear of the Internet and myself and just generally getting this thing started. Good to be back. 2019 will be the year things grow…

Every songwriter is different. How do songs come to you? Do you set time aside to write?

I tend to write in sessions, which normally means a song in a day (fully produced etc.). Such is the world of Pop! But it’s good for me. I can agonise on a piano for months on my own. I’m terrible at making decisions. But, perhaps it’s because I’m such a social creature or perhaps it’s the pressure of the moment: songs just come easier to me in the studio.  And they generally come from the music. I carry a notepad around with me…and I write little thoughts and words down all the time. So, when I walk into a session I normally have a phrase or a story to tell on those pages. (Or several).

And it’s about gauging my mood and the mood of the room to see what the right direction is. Talking it through will often give the producer the heartbeat of what we are about to create before we begin. The emotional colour, perhaps. But, sometimes, I walk in with an empty notebook and I say…“I have nothing! Zilch!” And they can pull up a sound or a beat or just be noodling on the guitar while we catch up and there it is! A story hidden in the space between the notes of a piano…or in a word someone says. No one day is the same…

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

I have a song with Norwegian D.J. Sonny Alven called Our Youth. I wrote it in about half an hour over Skype once; recorded it, sent it off…and didn’t give it another thought. Suddenly it was going out with my voice on it, which was great! And I was aware it was going well over there…but didn’t truly understand what that meant until I actually flew out to Norway to perform it live. That was really special. I was at a music festival and people were lining up outside to get into our tent. I had to do a line check before we started and I sang the first line of the song and gave a thumbs up to the sound engineer and started to leave the stage.

But, as I walked off the stage, I heard singing. So, I took out my in-ears and the crowd there (thousands of them) were singing the rest of the song back to me! Word for word! And, I was like…Oh my God. These are my words. They are singing my tune and my words. That’s the first time that had ever happened to me. That was special. We did the song on T.V. in front of 60,000 people too. That was a trip!

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

Too many to count but, if you twist my arm…

Alicia Keys - Songs in A Minor

This was the first album I was bought that was ‘Pop’. I was obsessed with The Beach Boys and Jazz music - and music of my own generation just wasn’t of interest to me. But Mum bought me Alicia in an attempt to get me down with the kids and it was my awakening. I learnt the entire album by ear that summer. And suddenly Pop wasn’t such a dirty word anymore: it was a joyful umbrella that could mean whatever you wanted it to. The next album I bought was Craig David’s Born to Do It, so I’d say that was a drastic about-turn.

Tapestry - Carole King

This one requires no explanation: superb songs, sung honestly.

The Beach Boys - Pet Sounds

A little after I obsessed myself with Jazz, I discovered The Beach Boys. And it was a world of all American vibes that had nothing to do with my existence but I wanted to be a part of. The harmonies I’m sure play a lot into how I make music now. (These guys, The Seekers; ABBA, the Bee Gees and The Supremes). They were my summer obsession for five months when I was about thirteen.

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

Oh, my goodness. Tough call. I love Bruno Mars. I’d love to support him. And my rider would be to be allowed to watch side of stage every night. I aspire to that kind of performance level and mastery. P!nk. For similar reasons. Alicia. Obviously. Ellie Goulding. I love her...

What advice would you give to new artists coming through?

Get a great lawyer. Learn to say ‘no’. Don’t try to please people. Figure out your WHY as an artist and reference it in EVERYTHING you do. Expect nothing. Entitlement will ruin you. Just make you happy. And write your legacy. My manager once told me to plan “how I’d like to fail” and I think that’s the soundest advice I ever got. Failure will happen. Even if you win. But, ask yourself: Would you like to fail as you or as someone else? What could you make your peace with easier when all is said and done? Authenticity is very difficult to regret.

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

I’m hoping to announce some U.K./U.S. dates soon. But nothing in stone yet.

Are there any new artists you recommend we check out?

I’m a big new fan of Hobo Johnson. A Rap artist with a mind that I can’t get enough of. College-style band just got slick! Also, check out Radiant Children. Caught their show in L.A. recently and they are fire. Loving new Bhad Bhabie. Billie Eilish. King Princess. Lots of great stuff coming through right now…

It’s an exciting time for music.

 IN THIS PHOTO: Bhad Bhabie

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

I love going to Jazz nights. I swing by little bars or Birdland here in N.Y.C. whenever I can because that escape does my soul wonders. I draw. I watch old movies. Also I love video games. So, I try to game wherever I can. But I can’t own an Xbox of my own, because literally I’d get nothing done…then there’s whiskey.

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

Thanks for your time, Sam! This is new and gorgeous…

Let Me Down Slowly - Alec Benjamin (ft. Alessia Cara)

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Follow Emmi

Official:

http://emmi.world/

Twitter:

https://twitter.com/emmimusic

Facebook:

https://www.facebook.com/emmimusic/

Spotify:

https://open.spotify.com/artist/3eSiyfI9xykA5QtgcLS43b?si=Yi46fTI3R7yRQGzjrCivmg

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https://www.instagram.com/emmi/

YouTube:

https://www.youtube.com/channel/UCTZAf3yR0yw-EOLi1xGuwyw

PHOTOS:

@emmimusic 

FEATURE: Smiles, Energy and Motivation: The Blue Monday Playlist

FEATURE:

 

 

Smiles, Energy and Motivation

PHOTO CREDIT: @priscilladupreez  

The Blue Monday Playlist

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IT is that dreaded day of the year...

 PHOTO CREDIT: @whoislimos

where we are all supposed to be a bit more miserable and things are pretty bleak! In fact, Blue Monday is pretty apt. It is the time of year when Christmas is a forgotten memory and the weather is pretty awful. It still takes a while for the weather to get going and the mornings are awful – it remains dark for quite a bit! On top of that, there is nothing on the horizon to look forward to. It is very much all back to work and what does the rest of January offer?! This Monday is a pretty sucky one and, as many have been showcasing some Blue Monday playlists, I thought it would be good to offer mine. It is almost the end of the day but there will be many who will still need a cheer and kick to get them through. If you have the blues still and require a bit of a boost, I have compiled some sure-fire winners that will get you in a better mood. I know tomorrow will be a better day but the awful Blue Monday is one we all struggle with. Take a listen to these huge tunes and, if you are not feeling better by the end, then I...

 PHOTO CREDIT: @eyeforebony

WILL eat my hat (disclaimer: I do not own one nor will I eat one!)