FEATURE: Golden Hour? Did the Grammys Get Everything Right This Year?

FEATURE:

 

 

Golden Hour?

IN THIS PHOTO: Kacey Musgraves was a big winner at this year’s Grammys/PHOTO CREDIT: Eric Ray Davidson for GQ

Did the Grammys Get Everything Right This Year?

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TOMORROW will be good as I wanted to raise something...

 IN THIS PHOTO: Kacey Musgraves delivering an acceptance speech at this year’s Grammys/PHOTO CREDIT: Getty Images

very interesting and, in fact, this topic is one that has been on my mind. Last night was the Grammys in the U.S. and it is definitely a step forward in terms of gender and genre. One of the biggest issues with the award ceremony, in past years, has been the male domination and a commercial leaning. In fact, when Bruno Mars swept the board in 2018 for his album, 24K Magic, there were some raised eyebrows. That album is not especially strong and it definitely has that chart-pandering sound. There is nothing particular challenging to be found and it was another year for men taking most of the big awards. There was call for change and it meant, when the nominations were announced for this year’s ceremony, there was some relief. Although female artists like Cardi B and Kacey Musgraves were announced, that was not a guarantee there would be recognised and actually win an award! I was a bit nervous I’d turn on the news yesterday morning to see it was the same old selection and issues. Luckily, when it came to handing out awards, female talent was being honoured! The award show gave prizes to H.E.R. (Best R&B Album for H.E.R.), Kacey Musgraves (Best Country Album for Golden Hour) and Best New Artist to Dua Lipa. Cardi B won Best Rap album for Invasion of Privacy and it was good to see a lot of talented women getting what they deserve.

Not only were women walking away with awards but there was greater inclusion regarding black women. Although there were some award categories that could have gone a different way, few had any complaints when the likes of Cardi B and Ariana Grande (she won the Best Pop Vocal for Sweetener) walked away with prizes. There was no sense of the Grammys making concessions and fitting women in just to silence people: they were genuinely making an effort and there has been some big steps. I was thrilled there was greater balance and I hope this continues next year. The BRIT Awards are very soon and it will be a chance to see if the biggest award show in the British calendar can match the Americans. The Grammys have always been slighted because of the narrow focus and the fact they tend to favour mainstream stuff and do not really consider women. There was no way they could have repeated previous years and allowed things to go on as they have for so long! Has everything been solved, though?! Many might say it is only a music award show and who really cares if it ticks all the boxes and is perfect? The Grammys will never be flawless but I think it has made some big improvements since last year. It is good to see big artists like Cardi B not being overshadowed and Kacey Musgraves’ win was a big nod.

 IN THIS PHOTO: Although Drake did not perform at the Grammys, he collected the award for Best Rap Song (for God’s Plan)/PHOTO CREDIT: Trace TV

Country music has been attacked because it does not play as many women on the radio as men – the fact Musgraves won Album of the Year and Best Country Album should, I hope, open a conversation in music regarding the way women in Country are treated. It was a good night regarding female inclusion and recognising genres like Country but, in some ways, there were needless issues. USA Today observed that there were problems when it came to interrupting speeches but, despite everything, they were on the up:

 “The most jarring slash was to Drake's speech. For the Grammys, Drake's presence was a major win, his first appearance at the awards since 2013, after years of criticizing the show's decision to not air most of its rap awards on TV.

And yet, when the rapper made a surprise appearance to accept the Grammy for best rap song ("God's Plan"), the show went to commercial in the middle of his speech, just as the rapper could be heard starting another sentence.

And the Grammys were also missing another major name, Ariana Grande, after a PR nightmare in which the show's producer Ken Ehrlich implied in an interview that Grande couldn't pull her act together fast enough to perform. Cue Grande claiming Ehrlich was "lying" and that the Grammys wouldn't let her perform the songs she wanted, which, if true, is quite a bad look for a show trying to do right by its female nominees this year.

And yet, beyond the failures of the telecast, the 2019 Grammys were actually a major improvement from last year's controversial ceremony, with female artists seeming to dominate the microphone as the night's performers and winners -- 31 women won across 38 categories, a sizable uptick from 2018, in which only 17 of the 86 prizes were won by female artist -- and with Glover, despite his absence, making history for hip-hop artists with his wins”.

 IN THIS PHOTO: Ariana Grande was a notable omission at the Grammys/PHOTO CREDIT: Craig McDean for Vogue

It is rather jarring seeing an artist make a speech and, when they have not been talking for that long, have it interrupted and washed over. The Guardian took up the baton and dissected Drake’s acceptance speech – what there was of it!

“And then Drake made his acceptance speech for best rap song. His initial point was that big musical awards ceremonies such as the Grammys are essentially meaningless, because there’s a weekly musical awards ceremony, voted for by the public, called the charts. This is not totally accurate: in awarding album of the year to Musgraves’ Golden Hour, which triumphed over commercial behemoths including Post Malone’s Beerbongs & Bentleys and Drake’s own middling Scorpion, the Grammys performed one of the few genuinely useful functions a musical award ceremony can perform, shining the spotlight on an artistically brilliant album that has thus far underperformed commercially”.

You can, as the article explained, talk about Kacey Musgraves and the fact her album, Golden Hour, matches genres together and is an exceptional work yet, in commercial terms, did not shift as many copies as some of her Pop peers. Maybe that is a problem with the American Country radio network and how little airplay they are giving to female artists.

 IN THIS PHOTO: Alicia Keys hosted the 2019 Grammys and was hugely impressive/PHOTO CREDIT: Jaclyn Martinez/Courtesy of AK Worldwide, Inc

One can dispute some of what Drake said above but, regarding another point he made, there can be few disputes:

“But Drake’s second point, about the Grammys’ attitude to artists of colour, was more difficult to dispute. The last 12 months have seen hip-hop continue a commercial domination of music that began in 2017 when Nielsen Soundscan figures from the US suggested eight of the 10 most listened to artists in the world were rappers. But you only had to look at the Grammy awards to realise that hip-hop artists have largely given up on the prospect of seeing themselves properly represented at the ceremony: Jay-Z and Beyoncé didn’t bother to turn up to collect their award; Childish Gambino was absent; Kendrick Lamar and Drake both turned down an invitation to perform. It looked suspiciously as if some of the biggest stars in the world were boycotting what’s supposed to be the biggest award ceremony in its field”.

There does seem to be this problem, still, with race and it is rather worrying. Sure, Cardi B was a big winner at the Grammys but the fact Drake and Kendrick Lamar both failed to perform suggests there are concerns. Hip-Hop dominates and has overtaken Pop but Rap is almost on the backbench. Some of its biggest names forfeited performing and there are a lot of things the Grammys needs to work on. This article counts all the slightly embarrassing moments at the Grammys.  

Ariana Grande did not attend because of a dispute regarding her performance; there was this feeling that, whilst many women won awards on the night, it was all a bit too little and too late. Big names bowing out and not performing cast a shadow and it seems like the Grammys has taken two steps forward and one back. I am relieved there is a move towards gender equality and recognising genres like Hip-Hop. I am not saying Pop should not be overlooked but it is nice to see this development and change. The fact speeches were cut and there were these niggles cannot be overlooked. I do think music ceremonies are important because they celebrate great work and can actually boost the profile of artists. Think about the new fans that will flock Kacey Musgraves’ way and the fact radio stations will need to retune their dials! Maybe the show was not essential viewing – it was very long and few awards were handed out on T.V. – but there were definite positives.

I feel the Grammys still holds weight and needs to exist. The same can be said for the BRIT Awards and the Mercury Prize. If the Grammys can address the issues this year and ensure that 2020’s ceremony has greater sight and gives more time to Rap – creating few disputes regarding performances – then it can grow and be seen as worthy. There are many who think it has never really been a guide regarding good music and a bit of an indulgent addition to the year. I would argue against this and go back to my point regarding the winners and the fact awareness will be raised – their sales will climb and it is a good chance for people to discover their music. There were some drawbacks and downfalls at this year’s Grammys but, compared to 2018, there were...

SOME enormous leaps.

INTERVIEW: Marie Dahlstrøm

INTERVIEW:

Marie Dahlstrøm

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IT has been great speaking with Marie Dahlstrøm...

about her new single, Mood, and working with Secaina. I ask what sort of music influences her and whether she has three favourite albums; if there will be tour dates and if there is a rising artist we need to look out for.

Dahlstrøm gives some useful advice for artists coming through and tells me how she relaxes when she has time; when she got into music and whether we might see more material coming along – she picks a great song to end the interview with.

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

Hey! I am good; had a nice week. Just got back from playing a show in Rome.

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

I am Danish. I sing, write; play and produce. Mostly. And I’m also studying a PhD at the moment. I live in London.

Mood is your latest track. Can you tell us when that was written and its inspiration?

Actually, Secaina and I were put in the same session last summer whilst at a female writing camp called She Writes. We did a song with another girl which included the bridge-section from Mood...half a year later we got together and both had a connection to that bridge. From that we created the rest of Mood one evening in my flat. It’s inspired by real life, mostly. A story of love. 

The visuals for the video are interesting. How did that all come together?

Over the last few years, I’ve been receiving so many nice videos from dancers around the world creating routines to my songs. I guess I wanted to create a music video which included dance for that reason. So, I put a request for dancers on my IG story and Sally and Douglas (dancing in the Mood video) sent me a video with their routine for the video.

Is there going to be more material coming from you this year?

Yes. I am currently working on my album. So, hopefully this will be ready in time.

Do you recall when you got into music? Did you always know it was what you wanted to do?

I’ve been into music since I was little but I didn’t know this was what I wanted to do until I actually started releasing music.

Would you say there are artists you are inspired by and emulate?

Hmm. I could not say emulate. Definitely inspired by. I think especially the music that I started listen to in later teenage years have inspired me a lot.

You hail from Rockslide, Denmark. What is the music vibe like there? Is there a lot of great music?

Roskilde is known from their massive music festival and it’s a very creative city with great music opportunities for kids. But I don’t know many artists from Roskilde.  

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

Hmmm. There have been many good ones! I think every single experience since I released my project, NINE, have been amazing. The last two years have brought me so much good energy- everything from going to Corsica to write Kanel; to recording and releasing Her Songs in Los Angeles and playing a sold out show at my favourite venue in Copenhagen, Montmartre!

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

Musiq Soulchild – Soulstar

I think Musiq Souldchild is just one of my favourite artists ever (laughs).

Lizz Wright – Salt

So much integrity and purpose in her lyrics and delivery. I’ve learned a lot from her music.

Jill Scott – Experience: Jill Scott 826+

The live album I have rinsed the most! A definite classic. And inspiration to band leading.

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

I’d probably ask for a pop-up steam room, only organic foods; red wine and green tea; water in glass bottles – and have everything recyclable!

What advice would you give to new artists coming through?

Try and remain true to yourself, your sound. Know who you are. Trust your intuition.

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

Yes! Working on it.

Is the stage somewhere you love to be? Can you describe the feeling when you are up there?

I didn’t use to love the stage, when I was younger. I always made excuses for not going on stage, but now I love it. I love it, mostly because of the communitive vibe me and my band create on stage. It’s such a nice bond and atmosphere.

 IN THIS PHOTO: The Naked Eye/PHOTO CREDIT: @create_often

Are there any new artists you recommend we check out?

The Naked Eye! She’s about to release the most amazing project.

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

Not really but, when I do, I go for runs quite a lot, play tennis and see my family back in Denmark.

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 would say Lucy Pearl – Trippin’! Such a vibe!

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Follow Marie Dahlstrøm

Twitter:

https://twitter.com/MarieDMusic

Facebook:

https://www.facebook.com/mariedmusic/

Instagram:

https://www.instagram.com/marie.dahlstrom/

Spotify:

https://open.spotify.com/artist/49NfOTfSPhrb0sJBVYS1iM?si=hj8WHR_OQF-05YY3ItYFuQ

SoundCloud:

https://soundcloud.com/mariedmusic

YouTube:

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

FEATURE: Spotlight: Jorja Smith

FEATURE:

 

 

Spotlight

IN THIS PHOTO: Jorja Smith/PHOTO CREDIT: Getty Images 

Jorja Smith

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I have featured Jorja Smith before...

 PHOTO CREDIT: Getty Images

but, as her stock rises, I feel it is worth mentioning her again. In fact, right now, she will be in America and it getting ready for this year’s Grammys. She is nominated Best New Artist category and many are predicting her to walk away with the prize. This year’s ceremony has already had its share of issues and controversy. A number of key artists are rumoured not to be playing – Kendrick Lamar is among them. There is no reason given why that is the case but, in a year when diversity is coming to the fore, it is disappointing to hear. Ariana Grande has been in the press and it is rumoured she was not allowed to perform the song she wanted - the organised have given a different reason and said she is the one to blame. There is always a lot of talk around every Grammys show and this year is no exception. At least this year is making more space for females and black artists. There is not total equality but there are more women being nominated for big awards. I hope there are female winners tonight and we see this change come in permanently. Many have called for the Grammys to be more equal and varied. Among the nominations this year is Jorja Smith for the new artist slot. Dua Lipa is another British female artist who could win the award but there is tough competition from Bebe Rexha and Luke Combs.

Many are predicting Greta Van Fleet to win (God help us!) but I think Smith should win the award. It is a shame Smith only gets the odd nod because her debut album, Lost & Found, is terrific. There has been endless comparisons to Amy Winehouse – a similar smokiness and vocal power – but Smith is her own artists and writes in a very different way. It is great to see how far Smith has come in the past year or so and many would not have expected her to develop so fast. Lost & Found gained impressive reviews but the success is warranted. The Midlands-born artist moved to London in 2015 and she began honing in her music aspirations when there. She released the incredible single, Blue Lights, on SoundCloud and, with its Dizzee Rascal/Sirens inspiration, it became a big hit. A lot of big names and tastemakers were attracted to the song and could detect this very rare and promising voice. Smith was put on Drake’s playlist, More Life, in 2017 and that followed Smith’s debut E.P., Project 11 in 2016. It is amazing to think Smith, who has worked and recorded in the U.S., was a barista in Starbucks only a few years ago. She lived in London and, although she had the music world around her and so many opportunities, she felt lost. She was lost but, in many ways, she had found her niche and home – hence the name of her debut album.

 IMAGE CREDIT: Getty Images

The songs on Lost & Found were written before she headed in the studio so it allowed her the chance to work on the songs and perfect them. A lot of artists create new songs in the studio but Smith’s care and attention meant she was focusing on her written songs and getting them right. Instead of writing new songs, she was adding new elements and nuances to her familiar tracks. Although there is an element of Amy Winehouse and classic Jazz performers through Lost & Found, it is clear the material is from this unique and passionate young artist – someone who does follow others and has put her everything into every note. CLASH gave their thoughts when Lost & Found was released:

“Any artist of note will tell you they’re influenced by all kinds of different musical genres, and Jorja Smith is no exception. On ‘Lost & Found’, the hook on ‘Teenage Fantasy’ is straight out of an early ‘00s R&B cut. Jazz exerts a force right from the album’s title track (and indeed throughout) and, needless to say, Dizzee Rascal interpolation ‘Blue Lights’ nods to her affinity with rap, a discipline in which she regrettably dabbles on freestyle ‘Lifeboats’. The moments at which Smith manages to distill any of these genres into something entirely her own are truly special.

It’s the first full length album from a young creative brimming with ideas and promise. While ‘Lost & Found’ doesn’t feel like Jorja Smith’s magnum opus, it’s a brilliant first draft”.

The Line of Best Fit added their words to the mix:

“Her debut is skilfully arranged so that most music fans will be able to unearth some element that they can relate to. Smith’s debut may cast the net wide, but she is an artist with ambition, who doesn’t want to be limited to one specific market. A multifaceted performer, her music reflects her personality.

Sometimes it is easy to forget that Lost & Found is Smith’s first LP. The sureness and creativity that exudes from each and every song disguises what some would call a lack of experience. But isn’t this when artists are at their most exciting? Stepping out into the unknown, crafting a sound and energy that is sincerely theirs. As Smith says herself as the final notes of “February 3rd” dissipate, “I’ve been lost, I’ve been lost again, and I’ve been found / Then I found myself… but I’m constantly finding myself”.

The album is tremendous and it was nominated for a Mercury last year. It faced stiff competition from Nadine Shah and the winners, Wolf Alice, but not many artists get such a buzz from their debut album. The stock of Jorja Smith is rising and here is someone who is very planted and level-headed but has this extraordinary ability and sound. A lot of new artists are noted because of their voice or lyrics but Smith ticks all the boxes.

 PHOTO CREDIT: Jon Gorrigan for The Guardian

She is busy heading to the Grammys and, even if she does not win the award she is nominated for, she has already scooped prizes and got a lot of kudos since she came onto the scene. In an interview with The Guardian, Smith was asked how she celebrated being nominated for a Grammy:

 “Literally the day before I was talking to my boyfriend [producer Joel Compass] because he makes music and he wanted to come out to LA around that time just to work with some people,” she says. “And I was like: ‘Oh, I reckon I’ll do the same, but maybe next year…’ Then the day after I get a message from his manager: ‘Congratulations!’ I was like, ‘What for?’ And then I saw. I didn’t even know.”

PHOTO CREDIT: Findlay Macdonald

So how did Smith celebrate? She looks a bit confused, like it’s a trick question. “Hugged my boyfriend,” she replies. “And that was it.”

Given her mature voice and accomplished songs, many would be forgiven for thinking she is an artist in her late-twenties or early-thirties: Smith is only twenty-one. This point was raised in the interview where, during the interview, Smith’s ordinary life and youth came to the fore:

“Such attention could, and should, be head-spinning. There is a moment, when we are bombing down the A4, where she pops a brace into her mouth and it’s genuinely shocking to realise – to be reminded really – that’s she’s only 21. Three years ago she was sitting her A-levels. When Drake was heaping praise on her, she’d not long given up a job as a barista in Starbucks. She starts our conversation warily, but quickly warms up. There’s a preternatural assurance here, one that explains how a young woman from the West Midlands, growing up with no connections in the industry, finds herself in LA tonight waiting to find out if she’s won another life-changing award”.

Smith talked about her solo work but, to many, she is still known for her work with Drake and Kendrick Lamar:

“It was never part of my plan to work with Kendrick or Drake or Kali, but they just added to everything,” says Smith now. “Because then I got opened up to a whole new Drake world, a whole new Kendrick world and a Kali world. So I got new fans from it and maybe they were waiting for me to put a project out and then they liked that, hopefully.”

Given the success of Lost & Found and the award nominations that have come Smith’s way, many would expect her to be snapped by a big label and have them guide her career. Smith’s rationalisation is simple and impressive: she does not like being told what to do.

“Smith’s success is all the more astonishing for the detail that she isn’t backed by a major label. There’s a simple reason for that: she doesn’t much like being told what to do. That clear-headedness could be seen at the Observer’s photo shoot. “If I don’t like something, I won’t wear it,” says Smith, who has now changed into her travelling outfit of a Mondrian-ish Nike tracksuit, with her hair scraped back into a tight bun. She giggles: “I have a lot of control, yeah.

As for what’s next, Smith just wants to get back to writing. “Or else I’ll never put out another album. And this year I will write more stuff.”

 

I like the fact Smith is forging her own path and she is not selling out quickly. A label would probably push her in a more Pop direction or get her to do all sorts of photoshoots. Maybe there would be more money and gigs (with a label) but Smith’s talent is doing the pulling and she can call the shots. She is looking ahead to her second album but there are tours and, I am sure, festival appearances. It will be a busy year where all the nominations and praise translates into gigs and a busy diary. She has not felt the need for a major label to do her bidding and who can blame her: she has already managed to achieve so much and it looks like all the attention is not going to fade away anytime soon!

When speaking with GQ last year, Smith was asked about the awards she has won and how she reacted:

“All this, plus Smith became the first unsigned artist to win the Critics’ Choice Award at the 2018 Brit Awards, released the most talked-about debut album this side of the Atlantic (Lost & Found charted at No3 in June and was nominated for the Mercury Prize in July) and is now GQ’s Vero Breakthrough Solo Artist Of The Year.

“It’s mad,” she says of the award, “but I’m very happy to be recognised for what I’m doing.” Smith’s sound incorporates left-field soul, jazz, R&B and hip hop, with the odd powerhouse ballad thrown in for good measure. Think Amy Winehouse meets Lauryn Hill. Where “Blue Lights” samples Dizzee Rascal, the classically trained singer has also borrowed from the likes of Henry Purcell”.

 PHOTO CREDIT: GQ

I wonder whether Smith will get a chance to breathe before the year is out and whether you will be heading into the studio to record new material in the coming months. She can afford to take her time and I wonder whether the writing experience will be different this time around. Rather than rush back into the studio, she has the opportunity to set time aside and write – maybe on the road – and bring a set of new songs with her when she starts the sophomore album. It has been an incredible last few years for Jorja Smith and I know things will get bigger and better. I hope she does not succumb to the lure of a big label and keeps her career in her own hands. I can picture her waking up and getting ready to go to the Grammys tonight; a first-time thing as she has surrounded by some of music’s biggest names. After tonight, it will be a chance for her to take stock and plan her next moves. There will be tour dates and openings; new possibilities and, maybe soon, more material. I have not seen an artist like Jorja Smith. She has this amazing talent and incredible maturity but there is a reality and accessibility to her. She is a real and very relatable person and her music is not just about her experiences and struggles – anyone can connect with it and take something away. Despite all of the acclaim and pressure, Smith is keeping her head and not getting stressed. That is rare to see and it is another reason why Jorja Smith is one of the finest...

BRITISH artists of the moment.

FEATURE: A New Master with a Masterplan: What Next for HMV?

FEATURE:

 

 

A New Master with a Masterplan

IN THIS PHOTO: The original logo/design for HMV (His Master’s Voice)/PHOTO CREDIT: Getty Images  

What Next for HMV?

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EVERY time a big company or chain...

 IN THIS PHOTO: Doug Putman has taken over 127 HMV stores in the U.K/PHOTO CREDIT: Sarah Lee/The Guardian

is threatened with closure, it causes my blood to run cold. I get this impression of multiple shops closing and hundreds of jobs going. There has been talk of chains like House of Fraser closing many of its stores and it seems like, although most are still open, there might be some problems ahead. We can say the same of Marks & Spencer, Debenhams and other chains. Supermarkets like Tesco are cutting people and it seems like the high-street is fading before our eyes. I walk around various towns and villages and you see all these shops boarded up. It is sad to see this happen and you know, as soon as another business fills the space, their time is limited and uncertain. I cannot imagine a high-street vista without HMV being in it. HMV has been a part of my life since I was a child and it was great, in the 1990s, having a choice of record shops. I recall growing up somewhere that had an HMV and an Our Price and one could brose both shops and ensure they got what they needed. This was back at a time when cassettes, C.D.s and vinyl were big; when there was a big appetite for physical music and we did not have streaming services. Now that the landscape has changed and we are all digested music/film online, HMV has been threatened and struggled to keep up with the competition.

One of the biggest problems with the company is the fact that its model and look is very similar to how it was years ago. Services like Spotify and Netflix have led to a decline in the popularity of DVDs and C.D.s. More of us are streaming T.V. shows and films so there is less of an appetite for physical purchases. Although C.D.s still exist; many of us are streaming our music and it means fewer of us are walking through the doors of HMV. It saddened me to see HMV threatened and the fact is this: many of its stores are going to disappear and leave a black mark on the high-street. Not only do shops like HMV invite casual browsing and curiosity but it is often the only source of music (physical) for many people. A lot of us do not go to independent record shops and HMV is that all-under-one-roof emporium where you can get all your music needs and a whole lot more. Every popular shop that gets shut leaves a gap and it is sad we are so reliant on the Internet. Not only does one get to interact with knowledge staff members at somewhere like HMV but there is that chance to browse and actually look at products in the flesh. The Internet is fine but there is no social aspect and it can be a little boring scrolling through pages and not actually looking for music in a real shop.

 IN THIS PHOTO: The flagship HMV store on London’s Oxford Street was opened on 20th July, 1921 and was presided over by composer Sir Edward Elgar (it was opened by the Gramophone Company at 363 Oxford Street)/PHOTO CREDIT: Mark Thomas/REX/Shutterstock

Although there was a fear all HMV shops would be closed, its new owner has come in and is intent on preserving every single shop. Doug Putman has big plans and he is the boss of Canada’s Sunrise Records. He gave an interview with The Guardian and was asked about whether all the stores will be closed:

“The new owner of HMV is hoping to reopen the chain’s flagship store on Oxford Street, and is in talks with landlords on the rest of the 27 outlets which closed down earlier this week.

Doug Putman, the 34-year-old boss of Canada’s Sunrise Records, rescued 100 HMV stores from administration, beating off a bid from Sports Direct’s Mike Ashley. But branches such as Oxford Street, with higher rents, were not included in the deal.

Speaking to the Guardian, Putman said he was optimistic that these outlets could be reopened: “Where certain stores have closed, our public have really rallied around and I credit that with some of the landlords coming back to us,” he said. “They can see how much support we are getting”

That flagship store on Oxford Street is an institution and essential for London. There are not many big HMV stores in the capital and it is in a perfect location. It is set on three floors and has a whole range of C.D.s, DVDs; T-shirts, merchandise and vinyl. I hope Putman and his team can find the money to keep this store alive and make sure the rest (threatened with closure) are saved.

 PHOTO CREDIT: Matthew Horwood/Getty Images

There is one problem with Oxford Street’s store: the cost of rent and ensuring it can remain open:

“But the site is expensive – rent on the Oxford Street store is £3.2m a year, and the rates bill is £1.4m, according to HMV’s former owner, Hilco.

Putman said if he could not cut a deal with the landlord, he would look for another central London flagship with a more affordable rent.

He is investing more than £10m into HMV as he revamps the website, ensures the latest releases are in stock and gives store managers more freedom to buy what their local customers want.

“We are getting away from the corporate mentality where every store is set up the same – we have to move away from that and let each store have its own personality,” he said. “I want to unlock the passion and creativity,” Putman says.

The stores will “double down” on vinyl, not just because he is now a self-confessed vinyl nut – he owns four record players – but because it’s what shoppers are asking for”.

One of the big criticisms that came out of the news HMV might cease trading was the slightly generic and old-fashioned look. Many people walk into HMV and they are greeted with DVDs rather than music. I can understand people love DVDs and there is that demand but HMV was set up because of the music – the logo sports a dog listening to a record on a gramophone!

 PHOTO CREDIT: @_sharon_garcia/Unsplash

HMV diversified and expanded to cater for technologies like DVDs but, as the Internet starts to take away the market and a bigger share of the profit, it is a good idea to let each store monitor what they sell most of us and promote accordingly – rather than be beholden a general and indiscriminate HMV model. I do like the fact a chain might be able to adopt this flexible approach so the head office and managers can interact and set up their stall how they like it. The demands are different in smaller towns as they are in the city. Many people who do not have access to a lot of record shops and options prefer an HMV that has a general spread and looks as it does now. Many in larger cities have streaming passes and subscriptions so they are not reliant on stuff like DVDs and prefer vinyl. Putting records back in the forefront – as they were at the very beginning – is a really interesting idea and one that might not have seemed possible a few years ago. Vinyl sales have been tracking upwards but one wonders, when CDs were more popular, whether there could have been this record-heavy look. Putman, as he explained in this interview is keen to put records front-and-centre:

“Crucial to Putman's plans will be sales of vinyl records. They offer, he says, a 'huge opportunity'. Vinyl record sales in the UK fell to just over 200,000 in the middle of the last decade but by last year had hit 4.4 million – back to early 1990s' levels...

PHOTO CREDIT: @priscilladupreez

'Customers are saying very loudly, 'Hey, we want more vinyl, give it to us.' And I try never to turn down someone's money.'

He wants to move vinyl records racks to the front of shops – as in his Sunrise stores in Canada.

Can he raise vinyl sales which are estimated to be less than 10 per cent of HMV's turnover? 'I think we can get vinyl to close to 30 per cent,' he says”.

Putman’s aims seem to be three-fold. He wants to keep all stores open and protect jobs; he wants to keep DVDs and merchandise but put vinyl at the front. He also wants to ensure the chain is making a profit by the end of the year. He has plenty of passion and ambition; a lot of money to get the chain back on its feet and almost start from scratch. HMV is in a rare position where it is almost alone in regards the bigger music chains. It can organise itself so the bulk of the stores have vinyl at the very core. When you walk in, you see all these organised and categorised shelves of vinyl and, at the sides, you can get your DVDs, C.D.s and other bits. I think there are some great independent record shops that are definitely worth a visit but many of them are quite small and crowded.

 PHOTO CREDIT: @fstop64/Unsplash

You can get a few records you want but the choice is not always there. I have seen HMV increase its stock of records but there remains an issue: the high prices and the lack of cheaper options. Maybe it is fair enough paying twenty-five quid for a double-album or slightly less for a new album but can we be expected to shell out twenty pounds for a single album that is a few years old?! I know vinyl production is expensive but there is a way to cap prices and provide greater value and still be in profit. Even if most records were fifteen quid then that would entice more people in. I think a lot of people are put off buying records because they are more expensive than streaming services. I wonder whether Putman has a pricing strategy and whether his profit forecast takes in the current price of vinyl. If HMV were stoked with a huge range of vinyl and they provided this complete experience – ensuring people did not need to go online to find what they want – then there could be this huge boom. Keeping the prices lower and more accessible means younger listeners would be tempted to browse and you’d get these impulse purchases. Maybe there should be loyalty schemes where members could get discounts or there could be a promotional deal where you could get three records for, say, forty pounds.

 PHOTO CREDIT: @samueldixon/Unsplash

Most of us dream of owning a record shop and we often have idea of what the place will look like and the range of records that will be included. I hope Putman is true to his word and looks at some of the most successful independent shops, like Resident in Brighton, and sees how they do things. I think you can bring the charm and familial aspect of an independent to a chain. The reason I love Resident is the fact it lists its vinyl by category and has C.D.s too; there are music books and you can get more obscure records and singles. That might be racing ahead but I think HMV, now that it seems safer, has a chance to not only get into profit but actually re-establish its crown as the king of the high-street. We need a stable chain that can exist in various towns and cities so, if people want, they can get out and buy music. The Internet is important but it cannot be everything – we still need shops to exist. I am glad there is this music-loving owner who is putting music above profit and his own ends. Putman will look out for the consumer and staff members; he knows how important it is for HMV to exist and I am pleased he is fighting to keep all stores open.

 IMAGE CREDIT: Getty Images

2019 has only just started but it seems like HMV, by the end of the year, can find itself on solid ground and start to grow. I am interested to see whether this records-first approach will extent to all stores and how far it will go. I have been reliant on HMV since childhood and I hope to visit stores until I am old. We all want HMV to thrive and be a part of the high-street tapestry and, with Doug Putman dropping the needle and choosing the records, a revival and evolution is in the air. Putman, in this interview, talked about the generational split and how many technology-focused youngsters are seeing people buying records and reacting:

“'The younger people are seeing the older ones buy it so it's cool, it's hip. When we grew up we had cards, we had vinyl, there was lots to collect. I think you are seeing a generation that never really collected anything, but want to'”.

It is a changeable time and the future is a less unclear. I think Putman will steer HMV where it needs to go and I cannot wait to see the day when my local store has records at the very heart of what it is about. I have a romantic vision that HMV, when we do our Christmas shopping this year, is thriving and there are masses of people flicking through record racks and buying music gifts for their friends and family. If this can happen then I think it will make the high-street, and people who love their music, so much happier...

 PHOTO CREDIT: John Rennison/The Hamilton Spectator

AND better off.

FEATURE: Remembering an Icon: The Essential Whitney Houston Playlist

FEATURE:

 

 

Remembering an Icon

IN THIS PHOTO: Whitney Houston My Love Is Your Love World Tour Book (Photo 1)/PHOTO CREDIT: Warwick Saint/whitneyhouston.com

The Essential Whitney Houston Playlist

__________

TOMORROW marks seven years...

 IN THIS IMAGE: The album cover for 1985’s Whitney Houston/IMAGE CREDIT: Spotify

the world lost Whitney Houston. Whether you are a fan or not, nobody can deny the impact she made and how influential she is. Houston is one of the best-selling musicians of all time and has sold over two-million records worldwide. Houston was one of those artists keen to break barriers and fuse genres together. Her blend of R&B, Pop and Soul made her stand out and you can debate Houston videos appearing on MTV inspired other black American women to follow in her footsteps. She was someone who wanted to bring music to as many people as possible and she definitely helped bring about changes. Houston’s passion for music began when she started singing in church as a child. One can hear those Gospel elements in her voice and that spiritual aspect. She signed to Arista Records at the age of nineteen and her first two albums, Whitney Houston (1985) and Whitney (1987) reached number-one on the Billboard 200 in the U.S. Her debut album made a slow start in commercial terms but began to grow by the summer of 1985. Saving All My Love for You and Greatest Love of All are, perhaps, the two best-known tracks on the debut but the record as a whole is full of great moments. Although Whitney took fifty-five weeks to reach the top spot, it spent a long time on the charts and introduced the world to this rare talent.

There was controversy when Houston missed out on a Grammy nomination in 1986. She was not named in the Best New Artist category and, given the fact her debut did so well, there was a bit of confusion. The disqualification was explained due to the fact Houston appeared on a Jermaine Jackson song and, as she had been heard then, she would not be considered ‘new’ on her debut album. That did ruffle feathers and there was no real excuse to deny Houston Grammy glory. It might have been this ignorance that spurred her to create a bigger and better album with Whitney. The 1987-released album exceeded expectations and took Houston to a new level.

IN THIS PHOTO: Whitney Houston in a recording studio early in her career/PHOTO CREDIT: Getty Images/whitneyhouston.com

The album stayed at the top of the charts for eleven consecutive weeks and the fact Houston, by the time, had spent twenty-five weeks at the top (cumulatively) was a record. Whitney’s four singles, I Wanna Dance with Somebody (Who Loves Me), Didn’t We Almost Have It All; So Emotional and Where Do Broken Hearts Go were played all over the radio and each single peaked at number-one.  Whitney Houston was breaking records all over the place – this was only her second album! By the time the 1988s Grammys came along, she was nominated for three awards and won the Best Pop Vocal Performance, Female for I Wanna Dance with Somebody (Who Loves Me). Although Whitney Houston’s second album gained huge commercial following and chart success, some critics were less passionate.

The New York Times had this to say in 1987:

“Predictably, ''Whitney'' is an album of love songs, and once again they honor pop formulas instead of shaping themselves to the singer's voice (unlike 1986's major black pop success, Anita Baker, whose material is utterly personalized). There's been a slight shift of image: Where ''Whitney Houston'' presented the singer as shy but irresistibly tempted by lust, she now acts more experienced and more physical about her affections. She even declares ''Love Is a Contact Sport.'' At the same time, she maintains her good-girl persona, sticking to songs about long-term, monogamous romance or about missing an absent lover.

Putting across a pop love song, especially on recordings that will be heard repeatedly, a singer has to stay attentive to individual words and lines while building a dramatic shape for the song as a whole - caressing some words, stretching others, rushing or hesitating or lingering. On ''Whitney,'' however, Ms. Houston's delivery makes her love songs curiously distanced”.

1990’s I’m Your Baby Tonight did not fare as well as her previous two albums but it did take her music in a new direction. This time, Houston was picking the material – rather than the label selecting songs – more and getting a bigger say. Working alongside producers like Babyface and Michael Masser, her third album was a different beast. There is less reliance on pure Pop and those who felt Houston did not evolve between her first two albums could have had few arguments here. There were fewer standout hits on I’m Your Baby Tonight but Houston was bringing in more Dance-driven music and Funk this time around.

Many consider 1998’s My Love Is Your Love to be Houston’s finest work. Maybe film exposure and performing in The Bodyguard (1992) created greater strength and helped bring new elements to her music. This was Houston’s first album in eight years and you get a nice blend of mid-tempo R&B and Hip-Hop. In fact, My Love Is Your Love is packed with genres and different sounds; Houston moving in new directions and keen not to repeat herself. Houston’s greater use of Hip-Hop added a new edge to her music and helped bring her to new audiences. The record sold less in the U.S. compared to her previous work but it did sell ten-million copies worldwide. It’s Not Right, But It’s Okay, My Love Is Your Love and If I Told You That are classic Houston cuts are fit in very well with what was happening in the late-1990s. Again, every single released from My Love Is Your Love was a success – each of the five tracks doing really well. Reviews were largely glowing and it was clear that, by 1998, Houston had reached new peaks and combined all her tastes and talents into this record. AllMusic, in a retrospective review, had this to say:

“Never before has Houston tried so many different sounds or tried so hard to be hip. It's one thing to work with Babyface, the standard-bearer of smooth soul in the '90s, but it's quite another to hire Wyclef Jean, Lauren Hill, Missy "Misdemeanor" Elliott, and Q-Tip -- all cutting-edge artists (albeit on the accessible side of the cutting edge), the kind who never would have been associated with Houston in the late '80s. The gambit works. There is still a fair share of David Foster-produced adult contemporary ballads, but the true news is on the up-tempo and mid-tempo dance numbers..

 

In fact, the songs that feel the stiffest are the big production numbers; tellingly, they're the songs that are the most reminiscent of old-school Houston. That's not to say she can no longer belt out ballads convincingly -- in fact, the best ballads are where she restrains herself, delivering them with considerable nuance. Houston has never been quite so subtle before, nor has she ever shown this desire to branch out musically. That alone would be reason enough to rank My Love Is Your Love among her more interesting albums, but the fact that it works more often than not pushes it into the top rank of her recorded work”.

Houston would record three more studio albums (including a Christmas one) before her death but they did not match the brilliance of her 1998 gem – although there are fine moments to be heard on every album. Some felt 2002’s Just Whitney... was not as punchy and memorable as her previous albums and the songs were a way of diffusing rumours about her in the press. 2009’s I Look to You was seen as a return-to-form and won her some great reviews. It is clear that Houston had been through a lot since 2002. She told press she was getting used to being a single mother and riding the ups and downs. There is a lot of passion and determination on I Look to You and some great writers/producers help bring the best from Houston’s voice.

 IMAGE CREDIT: Spotify

It is clear Whitney Houston made a giant impact on music and, whether you like her music or prefer other artists, the legacy she has left behind is clear. Alongside Michael Jackson, Houston helped bring more black faces to MTV and she helped bring about a hybrid Pop sound – maybe not as radical as Madonna and Michael Jackson. Many claim Houston cannot be seen as an icon because she released fewer albums that many of her peers. The fact that her incredible voice was the central instrument meant it was important to get the material right. She also struggled with press intrusion and personal issues but was able to come back and create great material.

IN THIS PHOTO: Whitney Houston in a promotional shot for her final studio album, I Look to You (2009)/PHOTO CREDIT: Getty Images/whitneyhouston.com

Whereas Pop icons like Michael Jackson might be remembered more for their moves and albums, Houston’s voice sent waves through music and set the bar for future R&B. You can hear her influence in so many modern artists and Houston is regarded as a singer’s singer. Everyone from Lady Gaga, Toni Braxton; Mariah Carey, Destiny’s Child and Alicia Keys count her as an influence and the list goes on and on. Houston opened the door for so many artists and she spawned so many imitators – although there was only ever one Whitney Houston! Everyone, male and female, can connect with Whitney Houston’s songs and her finest moments have not dated at all. It is seven years since she died but, in that time, new artists have emerged that count Houston as a role model. That is a great legacy and I feel, as the years tick on, we will see many more artists...

WITH Whitney Houston in their blood.

TRACK REVIEW: Swears - Subliminal

TRACK REVIEW:

 

Swears

PHOTO CREDIT: Izak Jackson 

Subliminal

9.3/10

The track, Subliminal, is available via:

https://open.spotify.com/track/0pfo9NlC7qcOgWQngKVaiD?si=hYbj3KG0RbOyPsQetFankw

ORIGIN:

Middlesbrough, U.K.

GENRES:

Indie-Punk/Grunge

RELEASE DATE:

8th February, 2019

__________

I am going to have to repeat myself here a bit...

because, whilst it is not a slight on Swears themselves, they have a lot in common with other bands I have featured from the North East. Whilst the sound is sort of the same and there is not really a unique angle – in terms of their story and  how they got together; what their music combines etc. – that is inevitable in a market that is growing and very busy right now. I shall get to the good bits in a second but it occurs, looking at them, that they take good images. There are some cool photos on their social media right now but I would suggest the boys gets a few more included. They have some great live shots that have been taken at various shows but not too many of them together in a portrait. It would be good to see them come through because, whilst their images suggest they are a great live act, a few composed shots might add a new dynamic to their personality. The guys keep their social media updated and informed so, as a fan, you are always being kept in the loop regarding what is going on and how they are moving. That is important in this market because I get so many requests from people who are either not on Twitter – an essential platform for every act – or they do not update it very often. It is hard enough to stand aside from the pack so you’d think people would take advantage of every option out there. For a band or artist, social media offers fans around the world and I never get the logical behind people forsaking Twitter. Even if you do not use it that often and it does not bring too many people in, it is useful to have and there are ways to attract more followers. Swears are organised and, when it comes to their social media platforms, they are visible and passionate.

This might sound like a small point but, as I have said numerous times, it is vital. Music is as much about the visual aspect of things as it is the music. If the guys can supplement their online spread with some more photos then it would stand them out even more. I would also like to know what sort of music they are attracted to. As I say, I have reviewed a few bands from the same part of the world and, given this review is so extensive, need some special angles to come from. You listen to their music and know that there is a lot of depth and work that goes into it. The band is tight and you can feel that, behind the scenes, they have a great relationship. Bringing something of that to the page would be awesome and give them another layer. I am not too bothered when it comes to biography because most people will look away from that and go straight for the songs. I guess that is the most important part of the process and, so long as you get the music right, then the rest will sort of take care of itself. This is true but Swears have a great sound and I think they could give themselves an easy boost. I should park that on the side for now but, as I said, I might need to repeat myself because of the situation and location of the band. When it comes to me reviewing Subliminal, I will be able to give a unique expression but, right now, I will need to move onto another subject. Before I do, it is worth exploring Swears’ social media and information because they definitely want to reach as many people as possible and stand out. Joel Clayton, Craig Hughes and brothers George and Stephanos Louca have been going since 2017 and made some big steps since then. I love the singles they have already released and they seem to be growing stronger with each one.

I will talk about the new track soon enough but I wanted to cover the North East and why it is often overlooked. I have, as I said, talked about music from Newcastle and Middlesbrough and why these are areas we need to talk about more. I think London does get a bit too much attention but how many bands do you get from there? I feel London is better when it comes to solo artists but other parts of the nation seem to do the band thing better. I think the North has always been stronger when it comes to bands and we need to embrace them more. There are a lot of great solo acts around but I can feel bands starting to make more of an impression. When it comes to bands, I find myself attracted to those playing in areas like Brighton and Manchester. Swears are up in Middlesbrough and, whilst it is not as busy as other cities, there are some great venues around. I have assessed a few bands from that way and I am always left satisfied and educated. I find bands like Swears are less concerned with copying other bands or producing sounds they think will fill stadiums or get into the charts. I will discuss the sound Swears make because, with every band that comes through, it is hard to stand apart. There has always been that North-South divide when it comes to music. Things are getting better but I do worry many artists are relocating down this way because they cannot get the same attention where they are. Swears have a great local reputation and I feel like they have ambitions to perform as far and wide as possible. They are clearly happy where they are but how much of the national music media casts their eyes as far as the North? It is a bit of a concern and I think it is something that needs to be challenged and solved.

PHOTO CREDIT: Piron Aston Music Photography

Swears have been around for a bit now and they know the business pretty well. Their great live sets and solid songs have won them praise and attention but this is a very competitive industry. It may seem like a cliché but I feel you get more personality and energy from bands in the North of England. Look back at the bands from this area that have endured and inspired – such as Oasis and Arctic Monkeys – and there is something about them that lasts in the memory. So many of the new bands from the North are carrying on this mantle and setting themselves aside. Swears instantly seem to jump from the speakers and their music remains in the mind. I am not sure whether there is a direct connection between location and music but I think there is something in it. If Swears were based in London, I feel their music might sound a bit generic or they would change what they do. Where they are now, they have a bit more freedom and are writing in a way that is true to them. I do feel like there is little focus given further north of London and there is so much treasure to be discovered. I think there are more and more bands coming out at the moment so it can be tricky having that unique selling point or distinct flavour. Swears, in terms of sound, are similar to a few bands but it is the combination of qualities and the way they write that gives them a little boost. I do wonder whether the general sound bands are producing has changed through the decades. Look back from the 1960s and the Pop that dominated; the fact Punk came out in the late-1970s and we had Britpop and Alternative by the 1990s. Every decade fostered its own movement and, a lot of the time, there was an emphasis on energy and spirit. I am not suggesting bands have lost that now but there are fewer out there who are producing something quite intense and rousing. Many bands now are sort of mixing genres and there is something lacking. There are some mighty bands around but so many of them come off as quite routing and uninspired. It is a hard balance to get right.

PHOTO CREDIT: Izak Jackson 

The guys of Swears seem more prepared and, as I said earlier, I would be eager to know which acts inspired them. I do not feel like it gives too much away mentioning that and, for people like me, it is interesting seeing where they came from and who they grew up around. I shall mention their sound when I come to the song review but, in a general sense, there has been something missing from the industry. There was a time when you got a lot of fuzzy bands who produced something quite lo-fi and snarling. Maybe it was more prevalent when Grunge ruled but I have seen it continue. I think the band market has less pull than it did and so many new options are stepping far away from that gritty and gravelled sound. It is a shame because, when done right, it can be electric and hugely memorable. A lot of bands have tried their own version of Grunge and Alternative and it can fall flat. There is something about the connection between the Swears members that makes their music pop and explode. Maybe it is their influences and the music they love but I think they have detected a gap in the market and are primed for success. I would love to see more bands follow their lead. We all have plenty of choice when it comes to sounds and genres but there are not that many bands that are doing what Swears are. Maybe it is a thing of the North but that is another reason why critics and people need to train their eyes that way. One of the reasons there might have been a dip regarding fuzzier sounds is because it is not that commercial. The market has shifted and it has changed a lot. The most popular sounds in the mainstream are sort of Pop-based and you would struggle to name that many bands that are getting as much attention as the best solo artists.

PHOTO CREDIT: Izak Jackson 

In sonic terms, there seems to be this leaning towards Pop but I feel that will start to change in a few years. If you look at how things have changed through the past few decades, I feel we are about to see a break away from the Pop rulers and a bit more eclectic landscape. I am not suggesting hard and hitting bands like Swears will instantly conquer and replace the current order but there is a yearning in the air that is calling for movement. I feel people want to discover music that has depth a sense of heart. There are Pop artists who have soul and can provide something real but there are too many that are quite shallow and commercial. Maybe Swears felt this pining when they started life but I feel they will start to grow and become more popular as there is this drive for evolution. It would be strange to think Swears will just remain where they are and play the local circuit. They are an ambitious band and their music is getting some serious heat. It is the sheer force of their movements and how they suck you into songs that gets to me. So many bands make you work hard and they are not always as appealing as you’d hope. The second you start to play Swears, you are in their world and are moved. That is not an easy thing to pull off so kudos to them. I think it is their sound and chemistry that sets them apart because, as I intimated, they have very similar aspects to other bands out there. The reason they stand above so many other groups is the way they play and how instant their music is. Even though more artists are looking at gnarling sounds and something fuzzy, Swears have this additional magic and level that gets into the brain and stays there for a while.

 PHOTO CREDIT: Andy Lochrie

I think live sets and a reputation on the circuit is a good way of spreading the message. Streaming numbers are important but there is nothing like seeing an artist play and then sharing the good word. Swears have been played on BBC radio and they have gained a lot of praise because of their incredible sets. It is clear Swears are one of the best bands on the Teesside circuit and that is not something to be taking lightly! There are some great bands up there all bustling for attention and looking for fans. I think Swears’ ability and natural strength on the stage is another reason why they get into the mind. I find so many artists are impressive in the studio but they do not translate that well onto the stage. Maybe that is a reason why some live venues are closing. If there are not that many great artists pulling people in then venues can struggle. The Teesside scene is thriving at the moment and that is because there are so many tremendous local acts. Swears’ new single, Subliminal, was recorded at Prospect Studios but it does have that live sound.  I do hope the media shows more love for Swears and they get the chance to have their music played on bigger stations down here. I am not sure whether they have been included on BBC Radio 6 Music before but it seems like they’d pick up a lot of new fans there. This might be territory for them to explore but Swears are clearly on the rise. I will end by looking at their 2019 and what might come next but, when thinking of their new single, the title sort of tells the tale. Subliminal is about the media and how their negativity can infiltrate our minds. It is about their pervasive negativity and sense of propaganda that can skew our thoughts and do damage. It seems like an appropriate and always-timely thing to write about. The way the messages are projected and delivered means every words stands out and you find yourself coming back for more.

There is something Punk-like and anthemic as Subliminal opens up. There is that meaty riff and gravelled sound but I love the chanted vocals that sort of mix the Punk of the 1970s and 1980s with something modern. It is a great start to the song and you are already invested. There is a sense that the chanting and vocals represents the chatter of the media and its inanity. The hero talks about carrying out wishes and not being able to put up with this. Maybe it is a reaction to the way the press project these views and try to poison the people. The composition is great but I feel like it does crowd the vocal at times. Maybe it is the way the lines are delivered but some lyrics do sort of fade down or they are not as decipherable as they should be. Most are clear but there are occasions when you miss a few of the words and the music gets a bit too heavy. That is not a big problem because, to be fair, look at Punk and Grunge of the past and that was a common problem. One gets the sense the hero is fed up with the way the press is campaigning on their own terms and they are spreading lies. I feel like there is a more general look at the media and the way there is not a lot of truth. This might extend to social media but I get the sense the printed press are under the boot. What I like is the sheer force and commitment of the band. Things never get too loud and aggressive but one cannot say Subliminal is a soft and calm thing! Maybe there is a little nod to the Foo Fighters at times – which is not a bad thing – but Swears very  much do their own thing. They talk about different layers to the dayshift and that sense of fatigue comes back through. A lot of the lyrics are clearly a shot against the media and the way they operate but there are some oblique elements that make me wonder.

Everyone will have their own visions regarding some lines but you detect a definite anger and need for change. When the chorus swings back in, you are ready to sing along because it has that instant and huge sound. Subliminal is under two-and-a-half minutes and it is impressive to see a band do that. A lot of artists like to take a bit more time but Swears manage to pack so much into that time. Their short and sharp mandate is a rally against the press and the way we are all sort of being brainwashed. One detects personal dissatisfaction and a desire for improvement. The band is very tight throughout and you can tell they have worked very hard on the song. It has that great live sensation so I can imagine it will go down very well with the crowds. You have that catchy chorus – so people will be singing along – but the verses pack a big punch. I do feel there are very few bands who can produce something economical and focused that lingers in the mind, Swears have achieved this and they leave a lot of questions unanswered. I get the aspects regarding subversion and subliminal messages but I get the feeling there are other aspects at work and other concerns. Maybe that is me reaching but one feels like the lyrics are not only attacking the media but looking inwards. Every listener will go in their own direction but I definitely wondered whether the lead had some concerns and personal struggles he was trying to get out in the song. In any case, Subliminal is a song that will last in the memory and make its impression. I will wrap things up in a bit but I hope more people listen to the song and get something from it. Swears have grown between releases and they seem to get bigger with every track. This is promising as they look ahead and think about new material.

I do wonder whether they have an E.P. in mind as Subliminal could perfectly open it. I mentioned how bands like IDLES and Foals are making an impact because of what they are talking about and you can add Swears to that list. I maintain there is something special about bands in the North and the way they perform. Maybe it is something to do with their local environment and sounds around them or it might just be a natural thing. In any case, this song shows we all need to spend a bit more time investigating folk like Swears. I love how each band member gets a chance to shine on the song. The percussion is able to strut and stand out whereas you get a moment when the grumbling and groaning bass takes the lead. It is not just about the frontman and making sure his voice is the dominant force. The song is about connection and chemistry and, essentially, being different. It is refreshing hearing a band that allows the music to shine and gives each musician a moment in the sun. The lyrics will remain long after the song has ended and I think their importance will not diminish anytime soon – which is sort of tragic. I have talked for long enough – so I shall move on – but congratulations to Swears who have created an instant and incredible song that proves they are one of the most exciting new bands coming through in the North of England. I look forward to seeing where they head next and whether subsequent material follows the same path as Subliminal. A raw and incredible song from a band that are in a league of their own. Do yourself a favour and follow this fantastic Middlesbrough band.

 PHOTO CREDIT: Izak Jackson

I have talked about a lot about general aspects around Swears and how they fit into the market. I think they will have a very successful 2019 and continue to pick up plaudits. They will have gigs in the Teesside area and check out their social media feeds for all the latest news. I wonder whether they will play in the southern counties and if they have plans to perform in London. I would like to see them play but I feel like there is a whole world for them down here. I maintain they need to remain where they are and should not feel the need to relocate. Their reputation is building and that will only continue as they put out more music. If they can add a bit more to their social media pages and maybe put up a few live videos onto their accounts then that might give people an impression of who they are as a band. Swears have featured on Amazon Prime so there is footage out there of them playing. I wonder whether they might produce an E.P. this year and launch that into the world. I am excited to see where they can go and what they can achieve. There are more bands coming along but I think solo acts still take most of the acclaim. Maybe it will take a bit longer for the balance to shift but I feel more and more bands are making their voices heard.

What strikes me is how few can project that fuzzy and intense sound and make it stick. There are a lot of people trying it and I genuinely feel that there is another Grunge-like movement in the offing. Swears are definitely one of the more assured and talented bands around. They have this exceptional bond and energy. This all comes through in their music but they are so much more than force and aimless riffs. There are bands that trade in the hollow but Swears have a lot of depth and they are joining bands like Foals and IDLES regarding subject matter and its importance. There is an appetite for truth in music and I feel, as the political situation in this country shows no signs of shifting, it means Swears can keep on growing and getting more acclaim. I will leave things there but I would recommend people do investigation regarding Swears and start from the beginning. If you can see them live then make sure you do but it cannot be too long until the guys are playing around the country. There is a hunger to see them in the flesh and I hope that is realised. I shall leave things here and it has been great listening to Subliminal. I hope I have done the band justice but, as I mentioned, there are a lot of aspects that are similar to other bands I have encountered – including where they are based and the fact they are an all-male band playing on the heavier side. That said, there is plenty to separate Swears from everyone else and that all can be found in the music. Get your ears around their latest gem and discover why they are picking up so many great reviews. I know Swears are local and growing at the moment but it will not be long until...

 PHOTO CREDIT: Piron Aston Music Photography

THEIR name is better known.

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Follow Swears

 PHOTO CREDIT: Izak Jackson 

Twitter:

https://twitter.com/SWEARSband

SoundCloud:

https://soundcloud.com/swearsband

Facebook:

https://www.facebook.com/swearsbanduk/

Spotify:

https://open.spotify.com/artist/4tVQA9JDzBrnv62qYhyuTh?si=XLVRR7mCTwuXrDRSP3UcCA

YouTube:

https://www.youtube.com/channel/UCzTjLk1g9XqpuSSN8ps9uJA

Instagram:

https://www.instagram.com/swearsband/

FEATURE: You’re So Great: Blur’s Eponymous Album at Twenty-Two

FEATURE:

 

 

You’re So Great

IMAGE CREDIT: Spotify 

Blur’s Eponymous Album at Twenty-Two

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I recall the Britpop years and a time when...

 IMAGE CREDIT: Spotify 

Blur and Oasis battled it out for chart supremacy! Between 1994 and 1997, it was like the two bands were releasing albums close to one another on purpose. Although Blur released Parklife in April of 1994 – Oasis released their debut, Definitely Maybe, in August – it was a spectacular year for two mighty British bands. Blur had been releasing material since the early-1990s (perhaps a bit before) and they made a big impact with Parklife. In a year that saw so many genius albums, Parklife is seen as one of the very best. It is a masterful record filled with Pop gems that range from the simple and catchy to the slightly quirky and odd. The title offering inspired endless singalongs and is one of the defining anthems of the Britpop time; emotional tracks such as This Is a Low proved Blur had depth alongside the cheekiness and energy. Oasis were not be undone and outshone. They were not directly in competition with Blur then but their debut arrived and singled them out as a northern, working-class alternative. Definitely Maybe is packed with anthems and arena-ready gems that saw the band ascend from the unknown to the mega-big. The album was an instant commercial and critical success whilst songs such as Live Forever and Slide Away ingrained themselves into the minds of the masses! There was this battle between the bands that intensified by 1995. There was the Britpop chart battle between Blur’s Country House and Oasis’ Roll with It and, whilst neither was the best work of either, Blur won the day.

  IMAGE CREDIT: Spotify 

Both bands followed up career-defining albums the year after. Oasis kept the pace going with the excellent (What’s the Story) Morning Glory? whereas Blur brought us The Great Escape. Oasis’ sophomore record provided the world Wonderwall and Some Might Say – many felt the album was even stronger than their debut! Oasis continued their hot streak and did not vary their template too much. Blur stayed fairly close to Parklife’s sound but there were many who felt Oasis were ahead in 1995. Reviewers were kind to Blur but not as ecstatic as they were the year before. Something similar would happen to Oasis in 1997 but, soon after the acclaim came in for The Great Escape, many critics started to wander away. It is clear there are some great songs on The Great Escape. Stereotypes, Charmless Man and The Universal are among the best Blur songs released and match the funny and interesting with the brave and bold. Although Oasis and Blur both produced epic albums, many critics and journalists felt Oasis were cooler and could sell more magazines. Some reviewers realised Oasis were stronger in 1995 and issues retractions regarding five-star reviews. Some felt The Great Escape lacked the breadth and commercial appeal of Parklife and, because of that, Oasis edged ahead. That media hype and swift retraction would blight Oasis by 1997.

 IMAGE CREDIT: Spotify 

Both bands, again, released albums in the same year. Blur were to undergo a massive change and evolution whereas Oasis put their foot more on the gas and came up with the bloated, overlong and unfocused Be Here Now. They did not release that album until August – Blur’s revived masterpiece had been out in the world over six months before Oasis could respond. It was not as though both bands were recording material to best the other but there was a sense that, by 1997, these Britpop titans had to adapt to changes. There was no longer this huge Pop core and British dominance: American guitars and bands were being promoted and there was a yearning for something a bit difference. Maybe the romance of Britpop had died and it was clear bands had to adapt. Oasis’ third album has some great moments (Stand by Me among them) but the record wanders and there is a lack of anthems. They gave themselves a hard task following up two world-class albums and, as such, Be Here Now seemed like a disappointment. Critics raved about the album but it was because of hype and build-up; the same sort Blur received in 1995. Whereas Blur’s shock would see them produce a great retort, Oasis did not really recover and it was clear they had already peaked. What is amazing about Blur’s eponymous album is the fact it sounds distinctly like them but incorporates American influences and moves with the time.

The band’s guitarist, Graham Coxon, suggested a stylistic change for Blur. Bands like Pavement were being mooted and, alongside producer Stephen Street, Blur set about recording an album that was theirs but sounded like nothing they had produced before. There were Pop jewels to be found on Blur but the record is a grittier, more experimental recording than their previous efforts. The band feared their new direction might alienate their fanbase and the label but, with singles like Beetlebum doing well and storming the charts, there was no worry of that! Beetlebum, according to Blur’s lead Damon Albarn, was a song about heroine and the drug experiences of his then-girlfriend Justine Frischmann (of Elastica). The song is sleepy and catchy and, whilst one can believe Albarn’s story, the Beatles-nodding sound might be a dig at Oasis and their dependence on the Liverpool band for inspiration! There were tensions between members of Blur before they started recording and there was a fear they would dissolve before another record. Coxon was battling drinking problems and the abandonment of their Britpop sound did not bode too well with the other band members at first. The band wanted to scare people again and wanted something more stripped-down. Albarn came around to Coxon’s love of lo-fi American music and it was the harmony that came which led to such a brilliant album.

Whereas Oasis’ ego and sense of fame led them to lose clarity and a sense of focus, Blur were on the point of split and regrouped; concentrated on a new direction and taking their music to another level. Recording was split between London and Iceland and, after recording at Mayfair Studios in London, the remainder of the album was laid down in Reykjavik. Vocals for tracks such as Beetlebum and On Your Own were recorded there. The band wanted to head away from the Britpop scene and see whether this new and strange environment could work its wonders. Blur had moved from this band with commercial pressures who were writing big hits to people who were more concerned with texture and taking their time. The band started to jam together and there seemed to be more relaxation and cooperation in the ranks. They had recovered from this strained unit to a Blur that was willing to try something new. The music on Blur, like every other album from the band, was eclectic and took in a number of different genres. If anything, the eponymous album was more varied and interesting than anything they had ever recorded. Death of a Party – my favourite song from the album – had a sense of creep and unnerving; the band taking the lights down and being darker.

IN THIS PHOTO: Blur (circa mid-1990s)/PHOTO CREDIT: Getty Images 

Chinese Bombs is a straight rave and burst that is all Punk and teeth; Country Sad Ballad Man is lo-fi Psychedelia and On Your Own is a classic slice of youthful Blur – big choruses and a terrific vocal from Damon Albarn. You’re So Great (a rare lead vocal from Graham Coxon) is the biggest nod to America and Blur is that perfect unity of American guitar music and the Pop they were leaving behind. Look Inside America is another gem and one of the most interesting songs the band ever recorded. The boys had the songs and a new lease of life but there was still a worry that they were committing some form of commercial suicide. Blur were used to playing to teenage fans – a lot of female admirers – and had this perception in the press. Blur was them shedding that skin and making music more primed to older boys; maybe those who were less enamoured of Pop and keener on American Indie. Tracks like Song 2 – not even two minutes but, within a few seconds, it was always likely to be a classic – and Beetlebum kept Blur in the mainstream and, if anything, gained them a new core of fans. Their eponymous record was a big success and hit the top of the charts around the world. It took a little while for all critics in the U.K. to get behind the record. American critics were keen and impressed – maybe thinking this was an American band! – whereas journalists here were adjusting to this 2.0 Blur.

Retrospective reviews are kinder and, before long, critics started to get behind Blur. Whereas Blur would see critics rave over The Great Escape and then withdraw some praise later, it seemed like the reverse was true here – Oasis would suffer their version of The Great Escape later in 1997. This review from Rolling Stone showed the sort of love that was coming from the American press in 1997:

“So you get terrific things like “Beetlebum,” a rare Beatles tribute in that it remembers to include the Fab Four’s sex appeal, and the otherworldly street ballad “Strange News From Another Star,” which luxuriates in lots of melancholy and infinite sadness. You get classic English gesturing in “Death of a Party” (imagine Noel Coward in a band), and you get elastic rockers (“I’m Just a Killer for Your Love”), witty celebrity profiles (“Country Sad Ballad Man”) and one dashing old-style dramatic piece (“Essex Dogs”). “M.O.R.” is a roaring homage to Mott the Hoople.

But most of Blur remains fascinated with the U.S., as in the classic ’90s road ballad “Look Inside America.” In the song, the band is just up from last night’s show, swigging Pepsi to find the energy to do a local TV show. Blur’s single has been added to KROQ. “Look inside America,” Blur sing. “She’s all right; she’s all right.” Blur might just see the compliment returned”.

PHOTO CREDIT: Getty Images 

There were some positive British reviews at the time but this one, from NME, tried to reconcile the ‘new Blur’ with the old:

“Old Blur was about strings finely plucked, about attention to detail, about rendering beautiful the substance of other people's lives. New Blur is about confusion, about what they feel and so it is about scuffed edges, new influences; the same incredible talent for songwriting but twisted into uncomfortable shapes. It's just that where once (Piers! Suits! Clacton!) these influences were wildly out there, now (Tortoise! Beastie Boys! Er, guitars!) they're already so widely available, this abrupt change of sound can't help but sound like a purely cosmetic calculation. That's Damon Albarn. The only man who could get uptight about not appearing slack enough.

It's an American thing, and one of the most disquieting about 'Blur': the idea that sounding untutored - like whacking a hardcore punk song like 'Chinese Bombs' next to a masterful hymn to inertia like 'Death Of A Party' - is in some way a genuinely truthful expression. Through Blur's previous three albums, it has been the sensitivity of the arrangements - the spectre of self-doubt lurking in 'Country House' - that has elevated their songs into the realm of the masterpiece. Missing the point a bit, Blur seem to be attempting to unlearn their craft to appear more 'real’”

I think most of the mediocre reviews Blur received from the British press was based on what they (the press) expected and how they would continue their Britpop plight. Many expected them to produce a similar album to what had come before and unaware the band wanted to evolve and do something different.

I feel critics were overlooking the quality of the songs and how much variety there was. Critics soon opened their minds and eyes and Blur’s eponymous record is seen as one of their finest. They had, as I mentioned, retained their sound and identity but there was a move away from British Pop and more American influence guiding them. I love how they moved from short and intense songs such as Chinese Bombs and could give us something expansive and extensive like Essex Dogs. Consider Song 2 and its sound and match it with Look Inside America. There are no weak tracks on the album (in my view) and I can tell how inspired the band sound. Blur are still going (I think) but they helped introduce American sounds to Britain and, whilst people were aware of new American sounds, Blur made a big impression. Blur would continue to record albums after 1997 but I do not think they matched the heights and depths of Blur. It is a record that sounds exceptional still and keeps revealing new pearls and favourites. Many go after the big hits like Song 2 and On Your Own but I love Death of a Party and Look Inside America – others like the rarer oddities like Essex Dogs and Theme from Retro. 1997 was a year when Britain’s two biggest bands, Blur and Oasis, were priming new albums and both were in different places. Oasis could do no wrong and many felt their third album would topple everything that came before. Blur hit gold with 1994’s Parklife but The Great Escape found them elevated and then brought down to earth – it was a strange time and it seemed like their commercial pull was on the slide. Blur came along on 10th February, 1997 and took them to new heights. It might have taken the British press a while to warm to the wonders of the album but now, twenty-two years later, Blur is considered a...

TRULY stunning record.

FEATURE: For the Joy of It: How Music Can Heal and Cure

FEATURE:

 

 

For the Joy of It

PHOTO CREDIT: @priscilladupreez/Unsplash 

How Music Can Heal and Cure

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I think there is a bit of a problem...

 PHOTO CREDIT: @thanospal/Unsplash

in music right now because there is this lack of energy and fun Pop. I am writing about modern Pop tomorrow and how the scene has changed. I have written about this before but I think it is worth repeating. Every year that goes past seems to see a departure from the more buoyant and catchy Pop music to something more processed and similar. There are some great Pop artists now but I tend to find the music being produced is a little too machine-fed and lacks the real heart and bang of past years. I do wonder whether we can return to that time when mainstream music was filled with something interesting and spirited. Look out at the scene now and I do not see the same sort of music as I did when I was young. I guess that is the way things go but this does not mean everything in modern music lacks determination, crackle and effervescence. Look away from Pop itself and you’ll find plenty of artists who write music that gets you uplifted and in a better mood. I think there is a need to bring more kick to the forefront but, for now, the most fun and inspiring music is coming away from the mainstream. I am listening back to more and more older music because I know it can produce the happiness I require. There is, in fact, a song I am trying to think of that was released in the late-1980s/1990s and it has been rattling around my head.  

 PHOTO CREDIT: @duck58cth/Unsplash

I can recall a few of the notes and sounds but the damned thing will not come to me! I am sure it will reveal itself but the fact the song is in my mind is down to the fact it is so fun and energised. I often scout Spotify for music I remember and know will put me in finer spirits. As life gets harder and there are bad days, music is doing its part and making a huge impact. I am turning to it a lot and it is doing much more than I could possibly imagine. Some of the music is from now but most of it is from the past. I think the real power and potential of music is overlooked. A lot of times we hear these familiar songs and they make us smile. We will have a sing and chant along and we all feel better. Without thinking about it, we gravitate towards music and do not really consider why. I know music I listen to will make me feel better but it goes much deeper than that. In other pieces, I have talked about music being therapeutic and helping those with memory issues. There are a lot of generic playlists on streaming services that are designed to make us feel better or cure the Monday blues. They are great and help alleviate the strain but we often listen and then forget about the songs. Music can be this very powerful tool that helps us through heartbreak or makes us think of someone. I feel, as we all lead busier lives and there is a mental-health problem, music has a huge role to play.

 PHOTO CREDIT: @neonbrand/Unsplash

I love music for a number of different reasons but it is the way it can put me in a better headspace and improve my mood that amazes me. I listen to a lot of 1980s and 1990s music and do wonder whether artists now need to look back and realise why songs from then are still popular. I am not suggesting music can replace therapy and medication but think about the burst of life and radiance you get from particular songs. Music does not necessarily have to be happy and peppy to make us feel better or get into the mind. Songs that are more emotive can help us unburden ourselves and they sort of strike a chord. I guess so many modern artists write in a slightly more downbeat way is because they are trying to relate to the listener and, in turn, there is that sense of connection. Whether you gravitate towards a more emotive song or prefer tracks that are kicking and alive, music has this extraordinary ability. I find music not only helps my psychological state but it can help me physically. A lot of times I experience aches and tiredness and a well-selected group of songs can ease the stress and pains and bring me back to life. Maybe there is something general about the mood of the song or it might be connected to nostalgia but I know music can do something other people and things can’t.

 PHOTO CREDIT: @wiesehofer/Unsplash

That tie to childhood might be a reason why I can often transport myself to another place. Music is subjective but we all have these songs that remind of us better times. Whether that is school days or memorable moments, we can play this music and instantly have all the worries melt away. That sort of relief and release does not instantly go away. Maybe music is not as effective as, well, genuine happiness but it is a very potent and striking remedy. It makes me wonder why more radio stations do not promote more high-energy sounds and those designed to put people in a finer mood. I think there is this dependence on music that is more synthetic or moody; artists that are interesting but do not write to make people feel happy. Streaming services can do their part and ensure listeners are exposed to upbeat music. I know they have to promote new acts and there are playlists around but there is so much wonderful music that can make us all feel revived and delighted. I know I can feel bad and like everything is a bit hopeless and then play music and feel so much better. Some of it is down to memories flooding back and the rest is that combination of pure sounds and positive messages. It is important music is broad and we promote everything but so much of the biggest sounds and move-improving gems are left aside and not bring put out there.

 PHOTO CREDIT: @creativesimonn/Unsplash

I have learned so much from music and, at bad times, I know there are songs I can play that will do something wonderful and change my mood. Music is brilliant when it comes to making us all feel happy and together but it goes much deeper than that. There is this power and ability to help the body and aid recovery. Whilst conventional therapies and medicines are most important, music has been used as therapy and a way of recovery. Something as simple as a playlist – adding to it as you discover more music – can be very important and helpful. I will not post one here but I would suggest everyone think about their favourite songs that have energy and fun; that lifts the body and brain and makes you smile. It might not be a long-term solution to bigger problems but I think we underestimate music and how it can transform us. As much as anything, it brings pleasure and happiness when everything around is quite bleak. I do wonder whether modern artists are too concerned with being personal and revealing and forgot what many of us look for: thrills, energy and a spirit that creates happiness. It might be hard to do but, as we can all attest, music has immense powers. The weather is a bit naff at the moment and spring is not quite here. If you need your spirit and soul nourished and you need that smile back on that face, spend some time collating a playlist of music that...

 PHOTO CREDIT: @brucemars/Unsplash

BRINGS back the happiness.

FEATURE: An Incredible Vision: The Exceptional I Trawl the Megahertz

FEATURE:

 

 

An Incredible Vision

IMAGE CREDIT: Spotify 

The Exceptional I Trawl the Megahertz

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THIS is the second day in a row where I have...

 IN THIS PHOTO: Paddy McAloon proudly sporting I Trawl the Megahertz/PHOTO CREDIT: @Prefabsprout/Getty Images

featured an album that was recorded during a difficult period. To be fair to J Dilla, he did die shortly after the release of 2006’s Donuts but he recorded a lot of it from his hospital bed. The man was near to death and suffering from a blood disorder and, with not much time left, determined to record this album. What resulted was staggering and I wonder how the man managed to actually have time to think, let alone make music that is of such a high standard!  At some points, he was being led between his hospital bed and instruments. Although Paddy McAloon was not as ill-fated and unwell as J Dilla when he recorded I Trawl the Megahertz; I wonder how he actually got around to recording and making music. I will come to his recent round of publicity regarding the reissue and remastering of the 2003 album but, so long after the heyday of Prefab Sprout, many were not expecting anything new at all. The new edition is credited to Prefab Sprout but, as it was McAloon, essentially, doing this on his own (bar musicians and engineers etc.) the album was credited to him. Certainly, it is not like any other record you’d expect from the man who leads Prefab Sprout! I think many of us have our own favourites and impressions when it comes to Prefab Sprout.

To me – I shall wander back onto the straight and focused path soon – I am fascinated by The King of Rock ‘n’ Roll. To me, all Pop music should take the same stand and create something fresh, quirky and utterly fun! I do wonder whether the mainstream has lost its way and should follow Paddy McAloon’s lead! I recall that song being played a lot and first encountered it when on a family holiday. It was playing at a water park (in this country) and I completely fell in love with it! The chorus is among the catchiest ever written and I love its video – complete with someone in a frog costume and a male diver. It is a brilliant track and, although some critics felt it was beneath the best McAloon was capable of, it remains one of Prefab Sprout’s finest songs.

A lot changed with Prefab Sprout between 1988’s From Langley Park to Memphis (where The King of Rock ‘n’ Roll was housed) and 2003. I shall come back to the band’s past work later but, in 1999, McAloon was rendered blind for a period. He suffered from detached retinas (a congenital condition) and, understandably, was not able to do too much. Most of us would be panic-stricken and unable to adjust to life without sight. His vision did come back but there was a period when the northern songwriter was pretty much house-bound.

It was during this time when McAloon found solace and inspiration in radio plays, transmissions and shortwave radio. Everything from chat shows and call-ins entertained him and, whilst it was possible to listen to the T.V. and get something from it, the radio was a much more suitable medium. McAloon recently provided an interview for BBC’s Newsnight and, looking resplendent in a crimson suit and hat, he is a million miles away from the man we remember from the 1980s. I shall come to that later, too, but I often wonder how McAloon found the focus and energy to record material for a new album as his vision was failing. The material that would make its way onto I Trawl the Megahertz is a big departure from the Prefab Sprout sound. Prefab Sprout traded in these intelligent and unique Pop songs that were very smart but were accessible and popular. They could write something like The King of Rock ‘n’ Roll but also pen something like Desire As (from Steve McQueen, 1985). There was a lot to admire about Prefab Sprout and right at the centre was these incredible songs that won their way into the heart. There is only a bit of McAloon vocal on I Trawl the Megahertz as the remainder is instrumental. Aided by co-producer Calum Malcolm and composer David McGuinness; the album turned out to be a revelation!

Not THAT different to what McAloon had written before, it was a little aside from the more radio-friendly sounds many were used to at the start of the Prefab Sprout run. I Trawl the Megahertz contains myriad sounds; there are samples here and there and Classical passages inspired by Claude Debussy and Maurice Ravel. McAloon, Malcolm and McGuinness (there’s a law firm in there somewhere!) translated McAloon’s writing, computer-produced sounds and ideas and integrated them with actual players. The spoken samples we hear on the album are from Yvonne Connors. She performs on the title-track and provides samples for the excellent I’m 49. McAloon does sing on Sleeping Rough but, for the most part, this is almost the work of a Classic composer. Many might seem it odd I compared Paddy McAloon and J Dilla  at the top of this piece. Both were very unwell whilst creating but there is a sense of mortality and reflecting on life on both records. I Trawl the Megahertz is very personal and poignant; it has mournfulness but philosophical looks at life and loss. Look at the title cut from the album and the samples and vocals (from Connors) is this unbelievable and highly emotional suite that sort of takes your breath! Although McAloon was not using as many snippets and samples as J Dilla did when he recorded Donuts; both were using sound in a unique way and creating work that could be personal and deep whilst bringing together other sounds and effects.

 IN THIS PHOTO: Paddy McAloon and Wendy Smith during the Prefab Sprout regency/PHOTO CREDIT: Getty Images

Many might feel Prefab Sprout’s records were quite ‘out there’ and on a different plain – that was nothing compared to I Trawl the Megahertz! Paddy McAloon is inspired by artists like Howlin’ Wolf and T.Rex - so it is no shock to hear that he would integrate the odd dose of the eccentric and ambitious into his work. Many assume he was this songwriter that just talked about heartache and the normal sort of things. McAloon was always a cut above the competition and, as early as Prefab Sprout’s debut, proving he was a genius songwriter. McAloon did fear I Trawl the Megahertz would miss the critical spotlight and the record would be seen as this somewhat overlooked thing. The reviews were highly positive and it was clear there was a huge amount of love for McAloon. He had lost none of his gift and passion and, on this rare and wonderful record, showing a new side to himself. The most recent Prefab Sprout record, Crimson/Red, was released in 2013 and is more conventional and story-based. Even though Prefab Sprout included McAloon’s brother Martin alongside Wendy Smith and Neil Conti (there were other various members at different stages); the work McAloon was putting out around 2003 was very much him. McAloon is still in touch with the former members and I know his brother still works with him. It is great we get to see I Trawl the Megahertz rebranded under the Prefab Sprout moniker as it shows McAloon has a lot of love for the group and, too, wants it to spread to a wider audience.

When I Trawl the Megahertz was unleashed to the world, it was received with warmth and fascination. I wanted to include the review from AllMusic as it seems to say a lot about the album’s brilliance and why McAloon is, and always will be, a musical genius:

“I Trawl the Megahertz, Paddy McAloon's first solo album, is as likely to perplex and infuriate as it is likely to stun and spellbind. Grand, heavily orchestrated, predominantly instrumental, and not the type of thing you put on prior to going out or when you're in the mood for cleaning the house, the record is incredibly powerful -- almost too powerful -- even when held up against everything from Prefab Sprout's past. The most significant song is the opener; 22 minutes in length, it's nearly elegiac in it its mournful tones played out by a swaying string arrangement and a weeping trumpet. Throughout its duration, Yvonne Connors speaks matter-of-factly -- yet dramatically enough to be poignant -- as she rifles through fragments of her memory, the most disarming of which reads like this: "I said, 'Your daddy loves you very much; he just doesn't want to live with us anymore.'" Of the eight remaining songs, McAloon's voice is present on just one, which doesn't come along until near the end. This song, the particularly autumnal "Sleeping Rough," is almost as emblematic of the album as the opener, expressing a somewhat sorrowful but content coming to grips with the passage of time ("I'll grow a long and silver beard and let it reach my knees"). The album was conceived during and in the wake of McAloon's bout with an illness that temporarily took away his eyesight, but it's plain to hear that his vision remains”.

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

I urge everyone to go out and get I Trawl the Megahertz and enjoy this fantastic creation! If you can get it on vinyl then I think you’ll get the best and most immersive experience possible. I love the fact the album is very different to other Prefab Sprout material and is largely instrumental. McAloon has always been this curious and changing songwriter and, being confined to the house, it was only natural he would explore sound and take a different approach. The title-track is this masterful thing that could have been an album itself and would have sold! You need to listen to the twenty-minute-plus epic and get to grips with all the brilliant sounds and elements that make it so symphonic, emotive and captivating. The nine-track album is a masterpiece and proof McAloon, whatever decade he is creating in, is a step above everyone out there. This takes us to the present. I have mentioned how he has been given interviews and spreading the word regarding I Trawl the Megahertz. McAloon, now, is a very different-looking man to the floppy-fringed imp of the earliest days. His white beard and hair makes him seem prematurely old but I love his look. In some ways it is a way of compensating for poor vision and hearing (he has Meniere's disease). The man may look different but that wonderfully warm and witty voice remains.

McAloon was on Mark Radcliffe and Stuart Maconie’s breakfast show on BBC Radio 6 Music this morning and was in fine form. He explained the process of recording I Trawl the Megahertz and discussed some of his influences. He looked back to a time when he met Paul McCartney and was stunned to discover the former Beatle loved The King of Rock ‘n’ Roll. Instead of thank Macca for the compliment, McAloon felt the song was not what he should be writing and wondered if it was the right direction – McAloon, this morning, admitted to the fact he should have just said ‘thanks’ and left it! The interview was fantastic and McAloon was really funny. He was asked, cheekily, whether he would tour the remastered album (McAloon is unable to tour because of his conditions) and McAloon joked he would be doing this big tour and would open with Queen’s Fat Bottomed Girls! It was a really great chat and you can catch it here (the chat is in the final half an hour of the broadcast). It makes me wonder whether we will see more material from Paddy McAloon/Prefab Sprout. McAloon can write and record fine but not the way he used to. It is a different process now but that is not to say we will never hear another album from him. 2013’s Crimson/Red gained great reviews and many said the same thing: McAloon is one of the best songwriters in the world! That is true and, even if he does not release many more albums, we have this incredible catalogue.

Look at the classic Prefab Sprout albums – such as Steve McQueen and Jordan: The Comeback – and you can hear all these different sides to this masterful songwriter! McAloon’s voice is soulful and pure; it can cut and jab but there is so much passion in there. Anyone who is unfamiliar with Prefab Sprout should spend a few hours going back and looking at their albums. I Trawl the Megahertz arrived at a challenging time and McAloon would be forgiven for resting and waiting until his sight was better. Instead, he crafted this sonic adventure that is amongst his finest work. I love the title number and think it is one of the finest pieces ever. Fall from Grace and Orchid are masterful and, in fact, the whole album is astonishing! I am glad McAloon is giving interviews at the moment as he always brings humour and incredible stories. He is a songwriter that does not get the same credit as John Lennon and Paul McCartney – I think he should! Not many artists could pull off I Trawl the Megahertz and make it sound completely natural and effortless. Pick up a copy of the new edition of I Trawl the Megahertz and let it envelop you! It is a staggering work from someone who, whilst short of sight, had not lost any of his vision. The album is proof that the incredible Paddy McAloon then, before and now is one of this world’s…

PHOTO CREDIT: Getty Images

GREATEST talents! 

INTERVIEW: Molly Marrs

INTERVIEW:

Molly Marrs

___________

I have been finding out about Molly Marrs...

and her latest track, All of Me. She explains the inspiration for the song and what comes next; the artists who inspire her and whether there are tour dates coming up – Marrs reveals an artist she would like to tour with if she had the chance.

I ask when music came into her life and whether she gets time away from her busy schedule; what advice she would give to those coming through and how she feels being on the stage – she ends the interview by suggesting a cut from a Pop favourite.

____________

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

Hello. My week has been great! This rainy weather has allowed me to stay in a few days to work at home - so I’ve been keeping myself busy making sure everything has been ready for this release.

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

Hey guys! I’m Molly Marrs; a singer-songwriter here in Los Angeles. I’m a Texas native and I’m out here to share my story to as many people as I can through my music. 

(You can watch my mini documentary here).

 

Your new single, All of Me, is out. Is there a tale behind the song?

I wrote this song at a point in my life where I had let other people’s opinions matter more to me than my own. It ultimately led me down a lonely road of constant struggle and unhappiness. I found myself in a toxic environment that was getting me nowhere. It was both damaging to my personal life as well as my business relations.

At this point, I had found myself in a vicious cycle of betrayal and un-loyalty and it really tested my character. I finally came to the realization that I deserved better and needed to move on and cut ties. I completely started with a new slate and rebuilt my team organically from the ground up.

Here I am two years later and happier than I’ve ever been. I feel like I'm finally able to be confident in my work and I'm doing it independently. To me, that’s the most valuable accomplishment.

Do you foresee more material this year? Might there be an E.P.?

Yes! I’m currently working on some more stuff that I’m super-excited to be releasing soon.

You have worked with a lot of different artists and producers. Do you think this has made your own work stronger?

Yes. I feel like I've learned something from everyone along the way.  

Having gained support from Boyz II Men and Fergie, how does that make you feel?!

Shawn Stockman was great. It was honestly a blessing and privilege to have worked with such an iconic talent in my first project out here in Los Angeles. Making friends and finding genuine people in the music industry is very rare and unheard of...but Fergie has been that one exception.

To see his success journey, and how humble he truly is, it amazes me! I value all of his advice/teachings but one thing I admire the most is his honesty. He’s been supportive, looked out for me and I had never met someone like that until now. So, I definitely feel honoured and grateful to have him apart of the team.

When did music come into your life? Did you have favorite artists as a child?

Music has been a part of my life for as long as I could hold a microphone. I remember for Christmas one year when I was seven, my dad had bought me a small PA system. I would wheel the speaker outside plug it in on the front porch and then run inside the house to sing for all my neighbours and the cars driving by. I listened to a lot of artists but I think my all-time favorite would be Christina Aguilera.

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

My favourite memory would be when I performed at Hakkasan in Las Vegas in November.

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

I honestly don’t have one! I love all kinds of music across all genres: it’s hard to pinpoint just one.

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

I would love to support Selena Quintanilla! Growing up, my mom would always play her and tell her all her wonderful stories. When Jennifer Lopez released the movie Selena, I watched it non-stop.

What advice would you give to new artists coming through?

My advice to any new artist is, regardless of what anyone says, no one knows you better than yourself. If you don’t feel 100% confident or passionate about a project, a deal, or even lyrics to a song, don’t release it. If you’re unsure about a contract and have questions, seek advice and never assume anything. 

This industry does extremely well at telling others what they need to be, rather than taking what's already there and enhancing it. Everyone is going to have an opinion regardless - so might as well make yours the most important.

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

Hopefully, soon! Just trying to take one day at a time and enjoy the journey.

Is the stage somewhere you love to be? Can you describe the feeling when you are up there?

It’s electrifying and my heart is full of pure happiness. Nothing else matters but that moment right there...regardless of the genre, I’m about to about to deliver a passionate message and I love being able to connect with others that way. Music truly is the universal language and that’s what makes it special.

Anyone and everyone can relate to or connect with a simple song. It’s always a privilege to be able to perform and I look forward to it every time.

 IN THIS PHOTO: Alina Baraz

Are there any new artists you recommend we check out?

I really like Alina Baraz and Lolo Zuoi.  

 IN THIS PHOTO: LOLO (Lolo Zuoi)

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

Time away from music? No, very unlikely. If I'm not in the studio myself, I still have to listen to something. To be honest, it’s hard for me at a time to sit in complete silence. Especially if I'm home alone making dinner, or working on my laptop; I will always have a candle lit and background music going on.

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’m a huge Ariana Grande fan! She’s just dropped her new album thank u, next so it’s got to be a track from there

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Follow Molly Marrs

Official:

https://mollymarrs.com/

Twitter:

https://twitter.com/mollymarrs

Facebook:

https://www.facebook.com/MollyMarrsOfficial/

Instagram:

https://www.instagram.com/mollymarrs/

Spotify:

https://open.spotify.com/artist/51hU7IPJUvfx858zVivf2l?si=TsZIMog-TjykXRV6c2JhgQ

SoundCloud:

https://soundcloud.com/molly-marrs

YouTube:

https://www.youtube.com/channel/UCMU9b1juoZSB8bpWNRA948A

FEATURE: The February Playlist: Vol. 2: Diamonds Turning to Gold

FEATURE:

 

The February Playlist

IN THIS PHOTO: MARINA 

Vol. 2: Diamonds Turning to Gold

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I intimated, last week, that the new selection…

 IN THIS PHOTO: Ariana Grande

of music was not that strong but, lo and behold, there is a raft of epic music to compensate this week! I have been picking the very best and it is great to see the return of MARINA (formerly Marina and the Diamonds). Alongside her new single is music from Ariane Grande and Kelly Rowland; The Amazons, Drenge and Anna of the North. There is so much good tuneage to get your head around and there is such a variation! I hope you enjoy what is on offer and, as the weather is pretty mediocre, it is a good time to stay in and listen to some quality music! Let the sounds do their work, move your way through this week’s new selection and I am sure the music will take you somewhere…

IN THIS PHOTO: Drenge

TRULY special.  

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

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MARINA – Handmade Heaven

Nicki Minaj – Bust Down Barbiana

Ariana Grande – bad idea

Kelly Rowland – Crown

The Amazons – Mother

Cleo Sol – One

Circa Waves - Me, Myself & Hollywood

Ibibio Sound Machine - Wanna Come Down

IN THIS PHOTO: Beck

Beck (ft. Robyn and The Lonely Island) - Super Cool (from The LEGO Movie 2)

PHOTO CREDIT: Harley Weir

These New Puritans - Anti-Gravity 

SOAK – Valentine Shmalentine

Dizzee Rascal - Quality

The Japanese House – We Talk All the Time

GIRLI - Deal with It

Drenge - Never See the Signs

PHOTO CREDIT: @idafiskaa_

Anna of the North – Leaning on Myself

Charly Bliss - Capacity 

Dermot Kennedy – Lost

Fontaines D.C. – Big

George Maple – Champion

Honeyblood – The Third Degree

PHOTO CREDIT: Kelsey Cherry Photography

Leah Nobel – Truly Known

Jack Walton – We Are Golden

Mahalia – Do Not Disturb  

Superorganism – Hello Me & You

IN THIS PHOTO: Maren Morris

Maren Morris (ft. Brandi Carlile) – Common

Yizzy – Yeah

Sarah Close – london

AJ Tracey – Country Star

Cass McCombs – Real Life

Jessica Pratt – As the World Turns

Rita Ora - Soul Survivor

MNEK - Girlfriend

Mercury Rev – Jesseye’ Lisabeth

Laura Stevenson – Living Room, NY

Talkboy – Someone Else for You

TRACK REVIEW: Orchards - Age of You

TRACK REVIEW:

 

Orchards

PHOTO CREDIT: Jessie Morgan  

Age of You

9.5/10

The track, Age of You, is available via:

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

ORIGIN:

Brighton, U.K.

GENRE:

Pop

RELEASE DATE:

29th November, 2019

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THIS year will see me do things a bit differently...

PHOTO CREDIT: Jessie Morgan  

as I am getting a lot of requests from solo artists who are a bit under the radar. It is okay because, naturally, people will contact you and ask if you can feature them. The reason I am making changes is because I am getting a lot of solo artists coming through and it can be a bit samey. In that respect, I am going for bigger names; those that are a bit more recognisable and have more of a standing. It has come to a point where I am getting lots of requests and they are not really interesting me and providing any sense of ambition. My mind is turning to bands more and, whilst I will apply the same rules to them very soon, I am keen to include more in my blog. Sam Rushton, Dan Fane; Will Lee-Lewis and Lucy Evers form Orchards and they are a crew that spike my interest. My rules regarding status and follower numbers will include everyone very soon but I think it is interesting to see a group like Orchards grow and see what they have become. It is early days for them at the moment but there is a passion there. Before I come to look at their current single, I want to talk about a few subjects. I will look at Brighton and the scene that inspires originality in artists; why bands and female-led bands are growing; simplicity and originality regarding songs and videos; why bands are starting to take more of a stand and have more promise to them; touring and how getting that gig experience can make a big impact. I miss Brighton a lot and do not get a chance to visit much. I haven’t been since Christmas Eve and always love heading down there. I love the people and vibe down there and always gravitate towards the vibe. It is a very colourful and friendly part of the world and you always get relaxed and feel better when around the people.

The reason I mention Brighton is because the band are based down there and it is a great spot for talent. Whilst one or two of Brighton’s big venues have closed the past few years, it is an area that is thriving and worth a closer look. The atmosphere and feel of the place inspires something different and fresh. The people are a lot different to, say, London and you are put in a good mood when walking the streets. That may not seem important when it comes to music but I think there is something in the air that compels musicians. Of course, if you are more relaxed and happier then that will translate into great sounds but I think there is something else at play. The fact artists are more relaxed and it is a less busy and packed place means they are free to wander and not so stressed. Brighton has a lot of great shops and bars; a great pier and beach and there is a tonne of stuff that compels the imagination. Other areas of the U.K. are great but there is nowhere quite like Brighton. Maybe it does not have the same opportunities and stature as London and Manchester but Brighton’s music is brilliant. There are a lot of female-fronted bands coming from here and I will talk about that later. It might be a stretch to suggest the sound of Brighton is vastly different to that of London but one gets a different tone. I am bit late to the party regarding Orchard’s new single, Age of You, because I got the request last year but it was hard working out timing and getting everything together. I am not reviewing any song in the past soon – singles released a few weeks or months ago, say – but I will make an exception here. The band will be planning new material so, in a way, Age of You is still quite fresh and worth exploring.

Orchards had a busy 2018 and achieved quite a lot. I will end by looking at their touring schedule and the fact they are pretty busy this year. I wanted to address female-led bands because they seem to be on the rise. There have always been female-fronted bands and some of the greatest from the 1990s, - including Skunk Anansie and Republica – have inspired a lot of groups today. I think there was a period when there was a lot of male bands and they tended to dominate. It might be the case they are the ones still getting booked for festival headline slots but the new wave of female-fronted bands should redress that. One of my biggest annoyances is the fact festivals still go with the all-male band and the same predictable sort. It can be annoying and does not reflect the changes in modern music. By that, I mean there is more depth and variety to be found. Female bands are more evident and mixed-gender bands provide a nice tonal shift. I am not slagging off all male bands but I think they can be quite limited and there is something lacking regarding sound and vocals. I do prefer a female voice and, when you have one leading a band, it can provide greater thrills and emotion. I feel all-male bands do not have the same depth and chemistry and bands with a female member. That might sound general and flawed but I think female-fronted bands are really exciting. Brighton has quite a few female-led bands (including Yonaka) and I love to promote them. Maybe festivals will get their act together and realise, when it comes to bands, there is much more pleasure and colour to be discovered in female-led bands. I am not sure why there are a lot of female-led bands coming through but I think it is something to do with the lack of variation and surprise you get from a lot of male bands. You have different voices in the group and, with a female voice at the front, it can add something you would not get from a male band.

It is interesting seeing how the band market is changing but, in many ways, it still has to compete against the solo hegemony. It has been the case, for many years, solo artists are ruling and they seem to take more of the pie. I wonder whether bands will get the same attention as them very soon or whether this pattern and landscape will remain for years to come. I think, if bands are to take more of a stand, then we need to look at moving away from the all-male variety. It might sound harsh to write them all of but I think they can be quite limited in terms of sound. When it comes to the male bands I am approached by, they tend to be Alternative or Rock bands. You might get the odd different one here and there but they tend to be a bit heavier. That is okay but you do tend to get a bit bored after a while. Unless you are IDLES are a band like that, you are not likely to make a big an impact as a band that has a bit more range and endeavour at their disposal. It is the Pop element that Orchards add that I love. I also love how bands like Yonaka can add something fiery and intense but, because it is delivered by a female voice, it provides something very different to what is out there. Not only does one get a more interesting vocal performance but you have a new lyrical perspective. Lucy Evers leads the boys but she does not dominate and steal too much of the focus. Instead, she puts her incredible voice at the front but you can hear the connection and intuition. I like how Orchards have this close bond and there is this original sound. I do hope festivals will book more female-led bands and, in years to come, they will get to headline. The same can be said for female bands too: a more interesting and fresh alternative to the sort of male bands that are headlining festivals right now.

Orchards have already released their E.P., Losers/Lovers, and it gained some big reviews. Age of You is about making promises and not quite being able to fulfil them. Lucy Evers has said it is a therapeutic song but quite hard in an emotional sense. The track is about having chances to be the best version of you but knowing there is something missing. There are still too many tracks about love and heartbreak and I think many artists are lacking when it comes to ambition. Think about the average human and how complex they are. They have so many sides to them and I do wonder why so many get caught up with relationships and focusing on them. We all go through so many different situations and very few of them are actually documented in music. I do love music that talks about matters of the heart but how inspiring is that for the average person? If you have not been in love or going through that sort of thing that is more academic than anything. I think music is most potent when it reaches the largest amount of people and has that familiarity to it. If you are not in a relationship then it can be hard to get behind songs that talk about splits and strains. I do think a track that talks about not being at your best is more common and we can all relate to that. We have all been in the position when we try and give everything to someone/life and still feel like we are lacking. Rather than provide a rather tense song that is quite depressing, the Brighton band do offer some hope and it will teach you some lessons. It is quite emotional and hard-hitting in places but I like its overall sound and we can all take something away. How many artists are writing songs that connect with everyone and go beyond the average and ordinary? Not only can a simple yet effective song resonate and endure but the same can be said for videos.

 IMAGE CREDIT: Joe Keys

Orchards had Stewart Gardiner direct the video for Age of You and they collaborated with their fans. The band wanted to keep things quite simple in terms of the lightning and set and not have something too cluttered. They reached out to their Instagram followers and, on certain lines, photos from them filled the blanks. Rather than the director compose the band in a scenario, they used these snaps to sort of respond to questions posed in the song. It is a nice way of involving the fans and quite a fresh twist. I think too many music videos try and tell a story and they do not feel personal or seem a little ambitious. It can be hard getting the video right and making it hit but there are ways to make it stand out. Given the rise of social media, I like the fact Orchards incorporated Instagram but the video itself has a lot of great elements and moments. It is a stunning video but a fairly simple one. I like music and videos that can make an impression based on something quite easy. Orchards manage to pack a punch with their song but do not need to use complex language and expressions. The song is cleverly written and sharp and it digs deep. One can feel it is very personal but everyone can relate to it. The video could have gone in the wrong direction and been rather wasted but the band and director have crafted something superb. You look at the video and remember the sights and scenes. I do wonder whether artists are taking advantage when it comes to videos and trying to craft something unique. It is costly to make a video but that does not mean you have to skimp on memorability. Orchards and Gardiner have produced something fantastic and charming. It almost juxtaposes some of the more serious aspects of the song itself and helps heighten the words. I can tell the band enjoyed the video and it perfectly visualises their track.

 PHOTO CREDIT: Dan Chase

I intimated bands will struggle to match solo artists and not get the same credit. Whilst I think there is too much focus on solo artists and that seems to be what is popular right now, I feel bands can make a break. There are some great solo artists in the market right now and the work they are creating is stunning. Whilst one can relate to solo artists and love their music, I do think bands provide something more emphatic and fulsome. When seeing a band live, there is something different compared to seeing a solo act. Bands used to rule and have the biggest say but things started to chance at the beginning of the last decade. Maybe it was a natural evolution but I think bands now are struggling to get mainstream attention. I think one of the reasons why bands have struggled is the fact they have been sticking with generic themes and sounds. Solo artists can provide more depth and flexibility and groups have not been able to match them. I am seeing the older order die out and those groups that are all heavy riffs, generic songs and the same old feel. In their place is a more ambitious and original line-up that has that knowledge of what the market wants. There are predictable bands out there still but there are many more that have something real to say. Whether it is the emotional struggles they face or the state of the world right now, it is a lot more than simple riffs and the same sound. Genres are being fused together and, with more female-fronted bands around, there is ample choice for festivals and fans alike. Bands are becoming more varied and I like the options out there. One can find an Electro-Pop group and there are some great Pop-Punk options. Depending on what you are into, you are likely to find a band that can fit the bill. I do think this choice has been missing and it is good to see a host of bright bands who can inspire the next generation.

 PHOTO CREDIT: Jack Smethers

Maybe bands will not completely bring us back to the 1980s and 1990s but there is nothing to suggest we will see less of an imbalance. I think the best live performance is from a band and there is something thrilling watch a group interact on stage. Solo artists are great but it can be quite hard to project the same sense of urgency, energy and colour you get from a band. Orchards are a group that showcase what is out there and how the market is changing. They have Pop and Rock elements working away but their lyrics are as personal and arresting as any solo artist. It is the chemistry in the group and the way each member adds to the pot that gets to me. You get that sense of togetherness and I feel Orchards are the match of any solo act out there. I do feel like male bands have struggled to adapt and too many are not saying anything new. That can lead people to solo artists; the band market starts to shrink and it can be sad to see. I feel this new breed are a lot more conscious of what the public wants and why solo artists are taking a big slice of the pie. Perhaps it will take a few years before we start to see real change but I can see bands taking a stand and getting more focus. Orchards are a brilliant group that have a long future and they seem rock-solid. I like the way they do things and the sounds they produce. The more bands that come through, the harder it can be to be distinct and stand aside. One of the dangers of bands swelling is the fact you get soundalikes and there is repetition. That is natural but there are plenty of bands who are on their own page and have their own scent. Let me come to the song, Age of You, and express why it is so good.

Age of You opens really well and springs right into life. It skips and has a crisp sound that instantly gets you invested but does not sound like anyone else. It is quite a catchy opening that has plenty of energy but there is depth to be found too. Although a few words do get lost – either buried by the composition or delivered quite fast – the lyrics talk about the heroine talking to herself and asking some big questions. It appears she has being trying her best and being the best version of who she can be but that has not been enough. She has thrown fireworks and maybe struggled a bit in relationships. Rather than beat herself up and blame others, this is this sense she has room to grow and is aware of problems that have arisen. Even though the odd lyrics does get lost and fades a bit, the heroine’s voice strikes out and she is looking back at opportunities lost. She talks about relationships past and wonders whether the right decision was made. Would things have been different if the bond was still intact and would it have made her happier? It is always hard to look back and wonder whether you have made the right call; if you did what was necessary or was a little rash. It seems like the decisions made were right and seemed natural but there are questions being asked. I like the fact the song has this quite energised and sprite tone but it is never too heavy. One would feel an emotional and personal song would be quite gloomy but the band ensure things are kept light and appealing. A lot of choices are being investigated and whether the decisions made are right. I do wonder how our lives would be different if we had stayed in relationships or taken a different path. Our heroine is wondering whether things would be better if she had done things different and maybe stayed with someone.

 PHOTO CREDIT: Helen Messenger

I think these are natural doubts and she cannot be too hard on herself. We all go through times when we look back and question our minds. There is something quite interesting about the vocal. In terms of sound, it is like nobody else but there are some familiar strands around the edges. It is a powerful and rousing delivery and one that brings the words to life. I like how the band connects and the interplay. The music is wonderful and often stands aside and strikes. There is a lot being said in the composition and it beautifully blends with the vocals. The lyrics talk about being the best version of you and thinking about yourself. I wonder whether the heroine was looking at herself and wondering whether she could have made things better or is taking a new leaf in 2019. She has been through some hard times and made mistakes but I think she is looking forward rather than back. Maybe there have been some hard decisions made but she is in a place now where she can evaluate and move forward. I’d like to think she’s happy now and excited about the next moves. I know Orchards, on Age of You, want to write about something missing and someone not being there. Maybe it is based on some single experience or relationship or it might be about a general feeling something is missing. You can look back and decide what is missing and moments lost but looking ahead and making a better version of you is a more positive thing. I feel the band are looking to embrace this sense of fulfilment and making improvements. Our lead has been through some bad moments and might regret some decisions but she is keen to move forward and build as a person. The lyrics are quite tough and revealing but there is a lot of positivity people can take away. We have all been in that mindset where we think we have missed out or are a bit incomplete. Orchards project this song that has a sense of optimism and cheer but that does not mean the song is slight and ineffective. The deliver and lyrics are powerful and memorable and the combination of these two elements is extraordinary. A terrific and impactful song from a promising young band that are growing stronger and stronger. Age of You is a cracking song that we can all relate to and take something away from.

Orchards embark on their first headline tour I March and April and tickets are available. Ensure you see them live because they are fantastic and a brilliant proposition. The band has a great 2018 and I think one of the reasons they are so strong is because they have toured a lot. There are some great venues down in Brighton and local bars to cut your teeth. The great thing about Brighton is that attracts a good mix of people and the artists are more eclectic. Maybe it is to do with the sea air and the people but the music seems more organic and nuanced. I like how Brighton artists do things and it is an area we all need to look at more closely. Orchards performed at festivals last year and got some great gig experience. I think this has translated into their music and has opened them up creatively. Not only do they sound sharp on record but their songwriting has broadened. Losers/Lovers has a great sense of range and I think Orchards have become more ambitious the more they have toured. They have played to a lot of people and had a chance to experiment with music. They have seen a lot of other acts play alongside them and all of this has been brought into the studio. Their play is excellent and you can hear the tightness and confidence. I feel a band with less gig experience might not sound as strong in the studio. They might be too reliant on their influences and not quite as electric as other acts. Those who have been on the road and had the chance to test their songs and work on them in front of the people have that unique perspective. They can get that instant reaction and people can respond. If they like a song then the band does not need to change much but, if a track does not get the big reception hoped, they can chop and change a bit before bringing it to a producer. Orchards have been out to the people and, through various gigs, seen that response. Check out their social media pages because they have gigs coming in March and April and make sure you go see them. I will leave things now but I am glad I have got the chance to review Orchards and bring them to new people. 2018 was a big one for them but 2019 is also going to be huge. Not only does the band have a headline tour but they will be thinking about new material and their next step. Given the strength of Age of You (and Losers/Lovers), I cannot wait to see...

PHOTO CREDIT: Jessie Morgan

WHERE they heads next.

___________

Follow Orchards

 PHOTO CREDIT: Jessie Morgan  

Twitter:

https://twitter.com/orchardslive

Facebook:

https://www.facebook.com/orchardslive

Spotify:

https://open.spotify.com/artist/4XWU6kWmuSBJJ1QL0BV3NZ?si=p1bhn7aaRQCNZEDqlhMSDQ

SoundCloud:

https://soundcloud.com/orchardslive

YouTube:

https://www.youtube.com/channel/UCC-8fed89VyZJqhSWxDKpHA

Instagram:

https://www.instagram.com/orchardslive/

Bandcamp:

https://orchardslive.bandcamp.com/

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Jamila Woods 

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

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THE weather is pretty shocking...

 IN THIS PHOTO: SOAK

and it is clear we are in the depths of winter! I am determined to let some great music compensate and bring warmth and brightness! There are some slower and more intimate songs in the pack but there are plenty of upbeat and spirited songs that showcase some brilliant female talent. Many assume music from women is a genre rather than being, well, nothing of a sort. The fact there are so many women being denied chances to headline festivals and have the same opportunities as men annoys me so, in these playlists, I am keen to exploit the finest female artists around. Here is a typically fulsome and interesting collection of songs that will stay in the head and linger in the bones. This is a packed collection that will distract you from all the crappy weather and bring plenty of joy and energy. If you need that boost and extra kick to get you through to the weekend then make sure you...

 IN THIS PHOTO: MARINA

INVESTIGATE all the songs here.

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

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Ebony Buckle – The Mermaids Said No

PHOTO CREDIT: Knut Åserud

Jackie Charles – Time Travel

Mahalia – Do Not Disturb

Vera Blue – Like I Remember You

Anna of the North – Leaning on Myself

Vivienne Chi - Woman

Le Butcherettes – in/THE END

Baker Grace – Wrong Kind of People

Elohim – TV

Calva Louise – No Hay

 PHOTO CREDIT: Wilk

Meg Mac – Something Tells Me

IAMDDB – Wokeuptoflexxx (WUTF)

SOAK – Valentine Shmalentine

MARINA – Handmade Heaven

Orla Gartland – Why Am I Like This?

Jamila Woods – ZORA

Shaqdi – Daydreaming

PHOTO CREDIT: @ebruyildiz

Boy Harsher – LA

Lucy Rose – Solo(w)

Shahrae – Awkward

Lisabel – Stars Dance

Erica Cody – Over & Over

Jessica Pratt – Fare Thee Well

DEWEY – Bent Star

PHOTO CREDIT: Francesca Tirpak

jellyskin – Half Pedal

PHOTO CREDIT: Emily Scarlett Romain

Sonia Stein – Party

PHOTO CREDIT: Matilde Cunha

Vaarwell – Money

FEATURE: A Secret Recipe: J Dilla’s Incredible Influence and the Peerless Donuts

FEATURE:

 

 

A Secret Recipe

IMAGE CREDIT: Spotify 

J Dilla’s Incredible Influence and the Peerless Donuts

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YESTERDAY marked what would have been...

 IN THIS PHOTO: J Dilla/PHOTO CREDIT: Getty Images

J Dilla’s forty-fifth birthday - and there were a lot of tributes on social media. Many non-Hip-Hop fans might not be aware of his work but he not only had this incredible solo career but worked with a range of other artists. He emerged in the 1990s and was part of the underground Hip-Hop scene in Detroit. Among the luminaries he worked with were A Tribe Called Quest, De La Soul; Erykah Badu and The Roots. J Dilla (or James Dewitt Yancey to give him his real name) died of a blood disease, thrombotic thrombocytopenic purpura in 2006 and the world was stunned. Not only were people deprived of this incredible talent but he died so young: he was only thirty-two. J Dilla met Detroit musician Amp Fiddler in 1992 and – under the name Jay Dee at that stage – he worked alongside MC Phat Kat – they formed 1st Down and they were the first Detroit Hip-Hop group to sign with Payday Records – a deal that ended after one single when the label collapsed. By 1996, he went on to record the album, Fan-TastTic Vol. 1, as part of the group Slum Village. That album helped bring Jay Dee to the public consciousness and was a huge hit in the Hip-Hop community. Q-Tip (of A Tribe Called Quest) felt 1st Down could succeed A Tribe Called Quest – Jay Dee felt uncomfortable with this comparison. He, in the mid-1990s, worked on a number of singles and remix projects; working for Janet Jackson, De La Soul and Busta Rhymes.

A lot of these projects were relatively low-key but Jay Dee did work on seven tracks from The Pharcyde’s album, Labcabincalifornia (released in 1995) and, by the turn of the century, J Dilla (we can switch between names) was working on new material. By 2000, the major label debut of Slum Village, Fantastic Vol. 2, emerged and there was this fresh following for J Dilla as a producer and M.C. His first solo album came in 2001 and the single, Fuck the Police, was followed by the record, Welcome 2 Detroit. The switch from Jay Dee to J Dilla occurred in 2001; by then his name was huge and his music gaining this huge following. J Dilla moved to MCA and they requested a record with a big commercial lure that was free from samples and accessible. I will come to an album that contained samples and showed the true skills of J Dilla: Champion Sound (recorded with Madlib) was a success in 2002 but not the album J Dilla wanted to make. I will finish by looking at J Dilla’s epic album, Donuts, and why that is special but, before then, a tribute from Pitchfork caught my eye. The article is illuminating and shows how wide J Dilla’s influence is:

“And while plenty of rap and R&B artists have absorbed his influence-- from fellow Detroit resident Black Milk's excellent Tronic to Kanye West's production on Common's Finding Forever-- his influence isn't limited to hip-hop and neo-soul. Flying Lotus picked up on elements of Dilla's style for his 2006 debut album 1983-- underwater basslines, stripped-down snare-tap percussion, bristling synths, textural hiss-- and has been boldly mutating them into a new strain of b-boy IDM ever since, culminating with this year's expansive Cosmogramma. He's at the vanguard, but he's not alone; artists on L.A. labels like Brainfeeder, Alpha Pup, and Proximal Records have hit creative paydirt by siphoning Dilla's ear for rhythmic suppleness through electro, dubstep, and ambient funk”.

It was the way J Dilla – there are reasons behind that moniker but not important now – evolved and continued to push what was possible that meant he stood out from the pack:

“His immaculate sense of rhythmic interplay and carefully built atmospherics were what put him in the upper echelon of  producers in the late 1990s, and his creative restlessness and experimentation were what kept him there through the 00s. He was never content to wring every last drop out of one of his stylistic phases, opting instead to move on once he felt he'd hit a particular zenith. This left him with a body of work that was a succession of distinct yet naturally progressing phases, exploring and evolving where other great producers were merely content to inch forward or simply maintain”.

Check out the article to look at all the artists and projects J Dilla worked on but there is one that stands out to me – him working on Janet Jackson’s Got ‘Til It’s Gone (Ummah Jay Dee’s Revenge Mix) in 1997. Pitchfork explain why there was some controversy:

“One of the more contentious moments in Dilla's career is an issue of attribution. Yancey claimed co-authorship of this song alongside Tip and Ali Shaheed Muhammad, and the original version of "Got 'Til It's Gone" bears all the hallmarks of the Ummah style: neo-soul electric pianos, subdued kicks paired with prominent snares, and bass that burbles so thickly that it flows instead of pops. But the official production credits name Jackson, Jimmy Jam, and Terry Lewis alone.

The revenge in question, then, is simply a matter of cranking up those aforementioned trademarks until the source is unmistakable. The bassline congeals, the keyboards are run through a rippling wah-wah, the titular Joni Mitchell loop fades in and out of focus-- it's the difference between a neon sign and a lava lamp”.

There have been very few albums, Hip-Hop or otherwise, that have been quite sample-heavy over the past couple of decades. I think about the late-1980s and early-1990s for those rich and ambitious records that take these disparate cuts and fuse them together into something wonderful. There were great sample-rich albums through the 1990s but it sort of stopped by the early-2000s. There have been posthumous J Dilla records but Donuts was released around the time of his death in 2006. By 2002, J Dilla has been diagnosed with thrombotic thrombocytopenic purpura and he knew it was incurable (the disease is terminal). The idea for Donuts occurred whilst J Dilla was in hospital in 2005.

PHOTO CREDIT: Getty Images

The album is an instrumental Hip-Hop album and, whilst it is not as overloaded with samples as some of the classic Hip-Hop albums, the way the samples are used and moulded is extraordinary. In many ways, it is sort of like nothing else around: most albums that used a lot of samples and instruments contained vocals and some sung passages. In a way, it is like scanning between radio stations because each of the thirty-one tracks last between one and one-and-a-half minutes (some tracks are a bit longer). The album starts with an outro and ends with an intro; there are all manner of wonderful sonic moments and it allowed J Dilla the chance to do whatever he wanted with samples and produce the record he wanted to. The ending of the final track is an infinite loop: it goes along with the donut (doughnut) concept and the fact that it is circular and never ends.

Most of the tracks on Donuts was recorded in hospital and he worked on a modest record player and sampler. His mother brought records to his bed and that would form impetus for the sounds heard on the album. His mother, it is said, brought a crate of records to his bed and, whilst he removed a dozen or so, he pushed the rest aside and said they were not good. There was this determination to finish the record – as his condition worsened and he was barely able to move – and he was physically moved between his bed and instruments so he could record these songs. It is gobsmacking thinking how ill he was and how courageous he was at the time – he only wanted to get the music down and that steely eye goes right into Donuts. CLASH, when talking about the record, had this to say:

“‘Donuts’ is a joy, from start to finish – amazing given the circumstances of its creation, with the vast majority of tracks laid down from Dilla’s hospital bed. It’s entirely instrumental, sampled snatches of vocals aside, and yet feels like a really personal statement, a beyond-satisfying epilogue of sorts coming after the great production work Dilla had put into tracks by The Roots, De La Soul, A Tribe Called Quest, D’Angelo and so many more. Those relationships, between producer and vocalists, helped to shape Dilla’s career – but it’s ‘Donuts’ that caps it, and exploring every one of its details is as magnificent as scaling the tallest peak...

IMAGE CREDIT: Dewey Saunders  

Its legacy is undeniable, too. Listen to a host of producers today and you can hear elements informed by the work of Dilla, from Clams Casino through to Hudson Mohawke. And beats from ‘Donuts’ continue to be sampled for fresh use amongst contemporary rappers: members of Wu-Tang Clan, Drake and Big Pooh have turned to these 31 cuts for still-fresh sounds to contextualise anew. Pitchfork deemed ‘Donuts’ worthy of a 10/10 on its 2013 reissue, while Clash has previously celebrated its brilliance in our Essential 50 of 2009 (here). And we see no reason to not continue our love affair with such a remarkable record.

AllMusic observed the following in their review:

“It's fitting that Motown echoes, a predominant theme, are often felt, from the use of Dionne Warwick's Holland-Dozier-Holland-written "You're Gonna Need Me" (on "Stop"), to the shifting waves of percussion plucked from Kendricks' "People... Hold On" (on "People"), to the Stevie-like piano licks within Kool & the Gang's "The Fruitman" ("The Diff'rence"). Most of the tracks fall into the 60-90 second range. It's easy to be overwhelmed, or even put off, by the rapid-fire sequence, but it's astounding how so many of the sketches leave an immediate impression. By the third or fourth listen, what initially came across as a haphazard stream of slapped-together fragments begins to take the shape of a 44-minute suite filled with wistful joy. Like everything else Dilla has ever done, Donuts is not defining; in fact, elements of its approach bare the apparent influence of Jaylib collaborator Madlib. His mode has always been too slippery and restlessly progressive to be equated with any one track or album, but Donuts just might be the one release that best reflects his personality”.

This great article shows how J Dilla managed to change the future and have a big impact on the Jazz community; this Wikipedia page shows just how influential the album was and how, in many ways, it continues to inspire artists.

There are some great features that look at Donuts and its influence and appeal. Study Breaks wrote last year about Donuts and how it has inspired the new breed:

“In the years following the album’s release, “Donuts” has become a classic. Ranked 66 in Pitchfork’s Top 200 albums of the 2000’s list, the album has a vast influence on the hip-hop genre today in the work of amateurs and professionals alike.

Musicians such as Knxwledge, the producer behind Kendrick Lamar’s song “Momma” on “To Pimp a Butterfly” and Adult Swim collaborator Flying Lotus — both groundbreaking artists in their own right — have stylistic foundations steeped in J Dilla’s work.

PHOTO CREDIT: Getty Images

Dilla’s influence on artists within or without the hip-hop community through music arguably surpasses that of any other hip-hop artist, except for The Notorious B.I.G. and 2Pac. The artists whom his music influenced vary from Joey Badass, Big Sean and Common to Ghostface Killah, MF DOOM and The 1975.

Surprisingly enough, one of J Dilla’s homagers isn’t an artist at all. Adult Swim’s famous bumper music, which plays during breaks in the programming, has included both tracks from “Donuts” and from Dilla’s posthumous albums. This homage showcases the song to a demographic largely unfamiliar with J Dilla or his music.

In the music magazine Pitchfork, Nate Patrin writes, “Dilla threw everything he’d known into this album and wound up delivering a simultaneous farewell and magnum opus three days before his passing; we should all be so lucky to produce something this moving in the face of our own mortality.” J Dilla’s music in “Donuts” embodies his legacy, and it is one of the best anyone could possibly hope for”.

This fascinating piece from Red Bull Music Academy Daily takes a deep look at Donuts and how it differed to everything else out there. It is well worth reading the whole article but these words stood out to me:

“For 43 minutes across the 31 tracks of Donuts, released ten years ago this week, J Dilla breaks and rebuilds samples in a way that breaks and rebuilds the way you hear music. While the music is sample-based, the sources aren’t so much looped as they are transformed into molecules of sound. Dilla’s production turns tracks into convection currents, samples roiling in and out of the mix. And unlike any other instrumental hip hop album you’ve heard, you never once want, miss or even expect a single bar from an MC, let alone 16. Without question, it’s the high point of instrumental hip hop. It was also the last album Dilla would make.

IMAGE CREDIT: Dewey Saunders  

Its influence has never waned. Five years out, his reach was long, his grip on hip hop – both indie and commercial – as strong as ever. Just listen to two Kanye West beats, a producer Dilla greatly admired, one five years pre-Donuts, one five years post. First, cue up to “Izzo (H.O.V.A)” from Jay-Z’s The Blueprint, one of Kanye’s first major commercial beats. The beat is inspired, no question, and catchy as hell, but hear the relative reverence for the Jacksons sample. Now listen to “Otis” from 2011’s Ye and Jay reunion Watch the Throne. Hear how chopped and jolting it is, how little deference is paid to the loop, to the sanctity of Redding’s voice. It’s garbled, warped, bleating. That’s a donut”.

A lot of people still do not know about J Dilla and how he managed to transform and evolve Hip-Hop. Even if you only listen to Donuts and do nothing else today, it gives you a better impression of the man and the passion he had. He was this rare gift and exceptional mind whose imagination ran wild and led to this wonderful music. His experience with other artists gave him the experience and confidence to put so much into his own work and I know albums like Donuts will continue to shape music for decades to come. There is more to his legacy than his final album (that he was alive to see released) but, in an age where there are few samples and instrumental albums, it is both rare and bittersweet. I wonder whether we will see a record like it and something as bold, original and packed with colours. It is clear we will never see another J Dilla: a superb and multi-talented M.C. and writer whose music has touched and changed so many lives. I will end things now but wanted to pay my respects to J Dilla, a day after what would have been his forty-fifth birthday. Sunday marks thirteen years to the day he died and it is a perfect reason to play his music and learn more about the man. Even this many years after his death, we are all learning details and sounds that show he was in...

 PHOTO CREDIT: Irish Times/Getty Images

A league of his own.

INTERVIEW: Peter and Kerry

INTERVIEW:

Peter and Kerry

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MY last interview of the week...

is with Peter and Kerry who have been talking with me about their great new single, They Know God (But I Know You), and how it came to be. I ask if there is going to be more material coming later this year and how the duo has evolved together – they recommend rising artists to look out.

I ask them which albums mean the most to them and whether there will be tour dates; how they found one another and whether they get time to unwind away from music – they select some great songs to end the interview with.

____________

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

Kerry: Very good, thank you. I’m just moving into a new studio so lots of packing and unpacking but very exciting.

Peter: Yes, also very good. I’ve been working with a good friend of mine on some of her new music in my studio which is super-fun.

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

Peter and Kerry: Sure. We are Peter and Kerry, a duo based in London and on the South East coast.

Are you managing to stay warm in the winter weather? Does it inspire musical ideas?

Kerry: Yes. I suppose so. Cold weather does make me sad.

Peter: Both my home and working space are very cold environments.

They Know God (But I Know You) is your new single. Can you explain the story behind it?

Peter and Kerry: They Know God (But I Know You) is about the strength both given and received in close relationships. We were on a little writing retreat recently, sat around the piano and it just flowed. We wrote the song very quickly.

How did you find one another and start playing together?

Peter and Kerry: We were both signed to the record label Tape Club Records and it was suggested we try collaborating on a song or two, so we hot-footed it to Pete’s dad’s house, instruments in hand. It was just supposed to be a one-off thing, but we ended up recording what was to be our first E.P. Clothes, Friends, Photos that weekend and never stopped writing together.

Do you feel there will be an E.P. coming later in the year?

Peter and Kerry: Who knows. At the moment, we just want to take the pressure out of goals, plans and strategies and release singles as and when we finish a song. But anything could change.

How do you think you have progressed as a duo over the last year or so?

Peter and Kerry: We had a really long chat after our hiatus about what we wanted and we both agreed that it was to enjoy making music again and not feel pressured by industry ‘rules’. So, we did just that: we started making music for ourselves again which is a huge progression for us.

In terms of music, do you share tastes? Would one find similar albums in your collections?

Kerry: Most definitely. It was through our love of similar music that we first bonded in friendship. I mean, there are a couple of artists we heavily disagree on, *ahem*, The Pretenders.

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

Kerry: For me, playing Le Botanique in Brussels is still up there as one of my favourite gigs of all time. Everything just fell into place.

Peter: There are way too many. Lots of innocuous, everyday things that I take for granted like being able to play/sing songs for friends in a fun situation like a dinner party; then, much bigger things like recording in Abbey Road or playing in Shepherds Bush in front of 1,800 people...or having audience members sing words back at you. They are all great feelings.

 IMAGE CREDIT: Carina Crenshaw/www.sugah.de 

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

Kerry: Ani DiFranco - So Much Shouting, So Much Laughter

It got me through some angsty times during adolescence and it’s the album that made me really want to hone my craft.

Peter: This is unbelievably difficult. It might be The Beach Boys’ Pet Sounds because it got me to think so much deeper about music arranging. Or Michael Jackson’s Thriller because it was the first album I owned as a kid. Or Radiohead’s Kid A because it led to a huge interest in Electronic music (from Pop/Rock music).

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

Kerry: Very tough question…probably Erykah Badu. Rider would just be an endless supply of Old Fashioneds and margaritas.

Peter: Stevie Wonder! Could the rider please include Ottolenghi to cook us some food?

What advice would you give to new artists coming through?

Kerry: Try to keep one foot in the present, because having both feet in the future doesn’t allow you to acknowledge your achievements.

Peter: I would absolute most certainly agree with Kerry’s advice.

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

Peter and Kerry: Not yet but watch this space!

 IN THIS PHOTO: Kadhja Bonet

Are there any new artists you recommend we check out?

Kerry: Kadhja Bonet

Peter: Anna Leone’s My Soul I was my song of 2018.

 IN THIS PHOTO: Anna Leone/PHOTO CREDIT: @__gracerivera

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

Peter: I work within music in some form every day but love to go running and organise my thoughts then. And dancing.

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).

Peter and Kerry: Oh my god, there are way too many. Let’s go with Noname – Don’t Forget About Me and ROSALÍA - PIENSO EN TU MIRÁ (Cap.3: Celos)

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Follow Peter and Kerry

Twitter:

https://twitter.com/peterandkerry

Facebook:

https://www.facebook.com/peterandkerry/

Instagram:

https://www.instagram.com/peterandkerry/

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https://open.spotify.com/artist/1rF521dtu6ReJEyMureStC?si=vfhVxk3RR5GGjXLkZ7_PCA

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https://soundcloud.com/peterandkerry

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FEATURE: That First Year of School, All Nervous... A Dozen Classic Albums Turning Five in 2019

FEATURE:

 

 

That First Year of School, All Nervous...

IN THIS PHOTO: Beck (circa 2014)/PHOTO CREDIT: Getty Images 

A Dozen Classic Albums Turning Five in 2019

__________

I started this process yesterday...

 IN THIS PHOTO: Perfume Genius (date unknown)/PHOTO CREDIT: Getty Images

and began by looking at albums celebrating fifteen years of life in 2019. It was good to uncover some great records that helped change music and make a giant impact. I am turning the clock forward and looking at albums released in 2014. It is good to uncover some great records that did really well that year but now, five years later, still sound brilliant and essential. It is always difficult to see which albums will last the test of time and whether it is worth marking their anniversary. In the case of these twelves albums, there is just cause to celebrate and get out some bunting. These are big albums that made their mark back in 2014 and are still being played/unpicked to this very day. You might be new to some of these albums whereas others will be pretty familiar and ingrained. I think you’ll agree these dozen albums are all magnificent, nuanced and filled with great moments! Make sure you take time to listen to them all and, when their anniversaries come out, mark them by spending some focused time investigating the songs. I look back at this magnificent year and am amazed by all the terrific albums that arrived. Familiarise yourself with these epic creations that made 2014...

 IN THIS PHOTO: La Roux captured in 2014/PHOTO CREDIT: Nicole Nodland for Billboard

A year to celebrate.

ALL ALBUM COVERS: Spotify

____________ 

FKA Twigs – LP1

Release Date: 6th August, 2014

Label: Young Turks

Producers: Various

Review:

“There aren't as many 4am jams on here of the 'Papi Pacify' ilk, which may bother some fans, but the album operates a little later into the hangover and is more impressive for it. It feels carefully crafted and yet somehow gloriously spontaneous and accidental.

Twigs seems destined for endless comparisons with Banks such is the similarities in their sound, and it will be interesting to see whether the American's debut album can live up to this when it drops in September, but Twigs has the edge at the moment in terms of originality and texture, the vocals being of a higher thread count, the melodies reaching that bit further out into the ether.

FKA Twigs emerges the high priestess of R&B's latest corruption, and the world will kneel at the altar” – The Independent

Standout Cut: Two Weeks

Download/Stream: Pendulum/Video Girl/Kicks

Run the Jewels – Run the Jewels 2

Release Date: 24th October, 2014

Label: Mass Appeal

Producers: El-P/Little Shalimar/Boots/Wilder Zoby

Review:

“Paranoid androids like "Blockbuster Night, Pt. 1" benefit, as if Run-DMC embraced EL-P's compressed beatmaking and dropped the F-bomb whenever possible. "Early" is deadly serious with Killer Mikepleading "I apologize if it seems I got out of line sir, cuz I respect the badge and a gun/And I pray today ain't the day you drag me away right in front of my son," and that's right before things turn grave. "All Due Respect" with Travis Barker enters Death Grips' territory with punk, techno, and vicious rhymes all crawling up the spine, but this rebel music can still come with a smirk, as a stuttering Zach de la Rochaoffers the infectious and weird hook on the wonderfully titled highlight "Close Your Eyes (And Count to Fuck)." If the first album was the supernova, RTJ2 is the RTJ universe forming, proving that Mike and El-P's one-off can be a going, and ever growing, concern” – AllMusic

Standout Cut: Blockbuster Night, Pt. I

Download/Stream: Oh My Darling Don’t Cry/Lie, Cheat, Steal/Angel Duster

The War on Drugs – Lost in the Dream

Release Date: 18th March, 2014

Label: Secretly Canadian

Producer: Adam Granduciel

Review:

“Dream’s best song, “Burning,” finds Granduciel confidently driving across an emotional rift, while “Dancing In The Dark” synths hum underneath. Dreamy instrumental “The Haunting Idle” is the only weak track; since the record is already abstract, the song redundantly interrupts its momentum.

As with other War On Drugs records, every hook on Lost In The Dream attempts to organize emotional chaos into understanding. Or as Granduciel puts it on “Burning,” we’re all “wide awake to redefine the way you listen in the dark.” On Lost In The Dream, The War On Drugs provides the darkness, and fans are just lucky enough to listen” – AV Music

Standout Cut: Under the Pressure

Download/Stream: Red Eyes/The Haunting Idle/Lost in the Dream

St. Vincent – St. Vincent

Release Date: 24th February, 2014

Labels: Loma Vista/Republic

Producer: John Congleton

Review:

“St Vincent's 40 minutes offer an embarrassment of fantastic songs: the electronic judder of Psychopath, the sumptuousness of I Prefer Your Love. It feels emotionally lighter than its predecessor – last time around there was a lot of sex, some of it a bit painful in every sense, whereas this time there's a lot more love – but Clark still comes up with some startling lyrics. Floating along on a kind of synthesised spectral chorus and blessed with the kind of tune you just want to wallow in, Prince Johnny is a fascinating puzzle: it's hard to work out whether the titular character is male or female, whether or not the song's narrator has slept with him or her, or how much their affection is tinged with contempt. In fact, the words are often ambiguous – Digital Witness isn't the only song about the disparity between public image and reality – but they're the only thing here that is: bold, poised, precise without sounding sterile, St Vincent seems to be a straightforward triumph” – The Guardian

Standout Cut: Digital Witness                 

Download/Stream: Birth in Reverse/Regret/Psychopath

Perfume Genius – Too Bright

Release Date: 23rd September, 2014

Label: Matador

Producer: Adrian Utley

Review:

“Hadreas' sexuality is obviously a huge part of his work, but he's above all a human—one who's spoken about battling addiction and sickness and sadness, and one who possesses the ability to write about it in a way that feels universal. A huge part of what makes the work so strong is the generous human spirit that bleeds into it, and Too Bright is the best example to date of the lengths he goes to confront his fears and demons. These songs feel less like songs and more like treasures, ones that fill you with power and wisdom, and as a result, Too Bright seems capable of resonating with, comforting, and moving anyone who's ever felt alienated, discriminated against, or "other-ized," regardless of sexual orientation” – Pitchfork

Standout Cut: Queen                                  

Download/Stream: Fool/My Body/Grid

Sharon Van Etten – Are We There

Release Date: 14th May, 2014

Label: Jagjaguwar

Producers: Sharon Van Etten/Stewart Lerman

Review:

“Both ‘Break Me’ and ‘Tarifa’ float along with the buoyancy of vintage soul, recalling the misleadingly upbeat dynamic of ‘Tracks of My Tears’ by The Miracles or The Temptations' ‘Just My Imagination’. ‘I Love You But I’m Lost’ and ‘I Know’, on the other hand, rely on just one or two instruments to get their point across.

Although there is the occasional overwrought lyric (such as “Stab my eyes so I can’t see” on ’Your Love Is Killing Me’), and nothing ground-breaking here in terms of song structure or instrumentation, the emotion in the delivery makes up for it. Van Etten tackles heartache with refreshing sharpness, distilling complex sentiments into something beautifully simple” – NME

Standout Cut: Taking Chances                

Download/Stream: Your Love Is Killing Me/You Know Me So Well/Break Me

D’Angelo and the Vanguard – Black Messiah

Release Date: 15th December, 2014

Label: RCA

Producers: D’Angelo/Alan Leeds/Kevin Liles

Review:

“At the other end, there's "Another Life," a wailing, tugging ballad for the ages that sounds like a lost Chicago-Philly hybrid, sitar and all, with a mix that emphasizes the drums. Black Messiah clashes with mainstream R&B trends as much as Voodoo did in 2000. Unsurprisingly, the artist's label picked this album's tamest, most traditional segment -- the acoustic ballad "Really Love" -- as the first song serviced to commercial radio. It's the one closest to "Untitled (How Does It Feel)," the Voodoo cut that, due to its revealing video, made D'Angelo feel as if his image was getting across more than his music. In the following song, the strutting "Back to the Future (Part I)," D'Angelo gets wistful about a lost love and directly references that chapter: "So if you're wondering about the shape I'm in/I hope it ain't my abdomen that you're referring to." The mere existence of his third album evinces that, creatively, he's doing all right. That the album reaffirms the weakest-link status of his singular debut is something else” – AllMusic

Standout Cut: 1000 Deaths                       

Download/Stream: Really Love/Back to the Future (Part I)/Prayer

Beck – Morning Phase

Release Date: 21st February, 2014

Labels: Capitol/Fonograf

Producer: Beck

Review:

“Beck remains a master of pastiche, and trainspotters can have a field day mapping reference points: “Blue Moon” shares a name with the Rodgers-Hart and Alex Chilton songs, but more closely resembles Bob Seger’s “Mainstreet” getting abstracted by Brian Eno in a Laurel Canyon time share. The strings from “Cycle” resurface in “Wave,” a lovely voice-and-orchestra meditation that could almost be a Björk cover. On “Country Down,” reminiscent of Harvest-era Neil Young, he sings about a man in a lifeboat while Greg Leisz’s pedal steel draws chem trails across the sky.

The album ends with another aching morning song, “Waking Light.” But the line that persists comes a few tracks earlier, on “Don’t Let It Go.” “In the crossfire, there’s a story,” Beck offers, “how it ends, we do not know.” With lyrical nods to Bob Dylan‘s “I’ll Keep It With Mine” and the crossfi rehurricane birth in the Stones‘ “Jumpin’ Jack Flash,” the song is in effect about how musical storytelling helps us push through terrible times. Morning Phase aspires to no less” – Rolling Stone

Standout Cut: Waking Light                     

Download/Stream: Heart Is a Drum/Blue Moon/Wave

Azealia Banks – Broke with Expensive Taste

Release Date: 7th November, 2014

Labels: Azealia Banks/Prospect Park/Caroline

Producers: Various

Review:

“Now she has shock-released Broke With Expensive Taste, her much delayed debut, herself, without label support, and it’s better than anyone might have reasonably expected. It’s an avant-garde hip-hop album that shows Banks has more in common with indie musicians such as fellow eccentric Ariel Pink, whose Sixties surf rock-style Nude Beach A Go-Go she covers, than with her fellow rappers.

Tales of New York life such as Gimme a Chance and BBD combine heavily rhythmic rapping with insouciance and sonic invention, while Miss Camaraderieis an eerily beautiful blend of house beats and synthesiser chords that’s imbued with a pervading sense of ennui. There are flutes, xylophones and tribal drums on Wallace, and reflections on Banks’s favourite soft drinks interlaced with soulfully related words of heartbreak on Soda. There are weak moments too, like the dated club track Heavy Metal and Reflective, but in the main this is a clever, far-reaching record, which proves Banks to be a far more thoughtful artist than her brattish persona suggests” – The Times

Standout Cut: Yung Rapunxel                                        

Download/Stream: Heavy Metal and Reflective/Ice Princess/Chasing Time

Damon Albarn – Everyday Robots

Release Date: 25th April, 2014 

Labels: Parlophone/Warner Bros.

Producers: Damon Albarn/Richard Russell/Brian Eno

Review:

“On Lonely Press Play there’s a sedative quality to the musical repetitions as Albarn addresses “Arrhythmia/ Accepting that you live with uncertainty”. There’s a rare moment of domestic vulnerability on The Selfish Giant as Albarn sighs: “It’s hard to be a lover when the TV’s on.” Meantime, Photographs (You are Taking Now) directly addresses the tension in our need to experience and document our lives simultaneously.

But it’s not all bittersweet blues. The final song, Heavy Seas of Love (co-written with Albarn’s gym buddy Brian Eno), has him shake off the isolation to fall into the arms of the Leytonstone Pentecostal Mission Church Choir for the musical equivalent of a group hug” – The Telegraph

Standout Cut: Everyday Robots                                    

Download/Stream: Lonely Press Play/Hollow Ponds/Photographs (You Are Taking Now)

alt-J – This Is All Yours

Release Date: 22nd September, 2014 

Label: Infectious

Producer: Charlie Andrew

Review:

“After all, this is a band that proved with its debut that it can go from icy, distant, and often excruciatingly beautiful to downright feral at the crack of a snare drum (or pots and pans, as the group's humble, dorm room beginnings often required), and This Is All Yours does little to tarnish their reputation as choirboys with dark passengers. That penchant for edgy refinement, along with frontman Joe Newman's elastic voice, remains the band's most effective weapon, but it's hard to pinpoint where and when that magic occurs, as it's so effortlessly woven into the group's sound. It's somewhere in between the autumnal and apocalyptic, Miley Cyrus-sampling "Hunger of the Pine," the bucolic, recorder-led "Garden of England," and the oddly soulful, midnight-black posturing of "The Gospel of John Hurt," and it gets under your skin, where it somehow manages to both hurt and heal” – AllMusic  

Standout Cut: Left Hand Free                  

Download/Stream: Nara/Every Other Freckle/Hunger of the Pine

La Roux – Trouble in Paradise

Release Date: 18th July, 2014 

Label: Polydor

Producers: Elly Jackson/Ian Sherwin/Al Shux

Review:

“Conjuring up that weird, false sense of instant familiarity is one of the most potent and difficult tricks in pop music. It's what lies behind the mammoth success of both Daft Punk's Get Lucky and Pharrell Williams's Happy, and it happens over and over again on Trouble in Paradise, most arrestingly on the opening trio of songs: the single Uptight Downtown, the Abbaesque Kiss and Not Tell and Cruel Sexuality, which it seems fairly safe to say, is the most sublimely euphoric exploration in recent pop history of the pressures placed by society on the individual who declines to define themselves as either straight or gay.

In truth, the songwriting quality never really dips. Almost sickeningly overburdened with fantastic tunes, Trouble in Paradise may well be not just a triumph against the odds, but the best pop album we'll hear this year. Listening to it, it's hard not to feel that whatever agonies went into its creation were worth it” – The Guardian

Standout Cut: Kiss and Not Tell 

Download/Stream: Uptight Downtown/Paradise Is You/Tropical Chancer

FEATURE: Stuck in the Middle: Content or Context? Albums That Improve with Age and Were Overlooked Upon Initial Release

FEATURE:

 

 

Stuck in the Middle: Content or Context?

IMAGE CREDIT: Getty Images 

Albums That Improve with Age and Were Overlooked Upon Initial Release

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IT might seem odd to some that I have this particular album...

 IN THIS PHOTO: Natalie Imbruglia (date unknown)/PHOTO CREDIT: Pinterest

at the top and centre - I have been listening a lot to records that were given a bit of a mixed review when they came out. The reason I have started with Natalie Imbruglia’s Left of the Middle is because at the time, in 1997, it was subject to some mixed reviews. Her single, Torn, had been a massive success but many felt the remainder of the album did not have the same sort of power and memorability. I think some of the issue might have been with the artists around at the time and how Imbruglia fitted into the scene. I recall getting the album because I loved Torn and tracks like Big Mistake. Here was someone who was a bit different to what I was listening to in 1997 – the likes of Blur and Radiohead – and that might have been a consideration. The scene in 1997 was very much about these very different bands who were producing their own thing. It was a year when some epic albums were unleashed and I think Left of the Middle got overlooked. This retrospective review by AllMusic is positive:

“Admittedly, some of the material will be seen as pop fluff by certain listeners, but fans of popular latter-day female artists like Paula Cole, Sheryl Crow, and Meredith Brooks will find Imbruglia's debut most enjoyable. What separates Imbruglia from the aforementioned artists is her willingness to experiment with electronic sounds, no doubt courtesy of mixer Nigel Godrich (of Radiohead fame), which can be heard on such tracks as "Smoke."

 

“Torn" proves to be the best song on the album, with its bouncy acoustic feel, but the pop/rocker "Big Mistake" is almost as good. Not all of the material on Left of the Middle fares as well, however, such as the Alanis Morissette sound-alike "Intuition," but Imbruglia need not worry about being lumped into the copycat category; for the most part, she has a style all her own”.

At the time, artists like Alanis Morissette were hitting it big – Jagged Little Pill came out in 1995 – and there were a few female singers who had that rather intense-sounding voice. Maybe it was common in 1997 to hear someone like Natalie Imbruglia. A lot of the songs on her debut are written off because there is a familiarity regarding the vocal. Turn the clock forward nearly twenty-two years and the songs actually stand up pretty well. There are some tracks that are a bit light but how many Pop artists do we have now like her?! Critics need to judge records on how the view them at the time and what is around them but I feel many of us overlook perfectly fine albums because of how we viewed them at the time. If there are singers like Paula Cole and Meredith Brooks around in 1997 – and that means there is little breathing room – then should we ignore the album years down the line?! I am not suggesting everyone listen to Left of the Middle now (although it is pretty good) but I feel a lot of dismissal and underwhelming reviews are based more on the flavour of the times and not indicative of the nuance and true quality of the material.  

 IMAGE CREDIT: Spotify

There are many albums that get stick or are not completely adored when they are released and they sort of improve and find their place down the line. I have raised this subject before but there were some really big albums brought out in the 1980s and 1990s that critics hated and, since then, they have been proved wrong. Maybe the situation is different to that of Imbruglia and her experience but I feel there is this sense of not giving records chance; judging them against what is ‘normal’ or, if there are a few artists that sound the same, maybe writing someone off and assuming they are exactly the same. It happened a lot with Pop albums but there were some big Rock/Blues albums, like Led Zeppelin’s debut, that were written off by some. Rolling Stone felt the playing was proficient but the songwriting weak and the material too close to the Jeff Beck Group. Again, there was a sense that here was an artist a little too similar to someone else; why bother listening hard and realising there is personal depth and originality? John Mendelsohn, of Rolling Stone, tore apart Neil Young’s Harvest when it came out in 1972 and felt it offered nothing to set it apart from the pretty singer-songwriters at the time. One feels he might have been talking about singers like Joni Mitchell and not truly listening to the music. Even at the time the record was astonishing but, yeah, perhaps the fact a certain scene has died and the legends have passed, it makes albums like Harvest even stronger.

Think of the slightly cold reviews Beastie Boys’ Paul’s Boutique received in 1989 and the comparison a few years later. Not many were prepared for a sample-heavy masterpiece back then and felt, because it was unusual, it was no good. 1989 was a great year for music – and Hip-Hop was hitting its peak – but there was not a lot around that had the same ambition and sounds as Paul’s Boutique.  Some reviewers not only compare albums in a contextual sense – whether they are too similar or inferior to what is already around – but they unfairly compare them to an artist’s previous work. Weezer’s Pinkerton is a classic case of reviewers looking for the U.S. group to repeat what we are used to and not accepting their 1996 gem. Rolling Stone readers ranked the album as the worst of 1996 and many critics hated the lyrics. Maybe it was not what we were used to from Weezer and confused by the sexual nature of the lyrics. Pinkerton was not a complete failure at the time – although Weezer’s lead, Rivers Cuomo sort of dismissed it – but I feel a lot of people were ranking it against what/who was popular in 1996 (Fugees, Beck and Manic Street Preachers included) and sort of being a bit myopic.

IMAGE CREDIT: Spotify

If reviews for Pinkerton were a little mixed at the time, retrospective reviews, like this one, have redressed the balance:

“Loosely structured as a concept album based on Madame Butterfly, each song works as an individual entity, driven by powerful, melodic hooks, a self-deprecating sense of humor ("Pink Triangle" is about a crush on a lesbian), and a touching vulnerability ("Across the Sea," "Why Bother?"). Weezer can still turn out catchy, offbeat singles -- "The Good Life" has a chorus that is more memorable than "Buddy Holly," "El Scorcho" twists Pavement's junk-culture references in on itself, "Falling for You" is the most propulsive thing they've yet recorded -- but the band's endearing geekiness isn't as cutesy as before, which means the album wasn't as successful on the charts. But it's the better album, full of crunching power pop with a surprisingly strong emotional undercurrent that becomes all the more resonant with each play”.

The one and only album from Sex Pistols, Never Mind the Bollocks, Here’s the Sex Pistols, was attacked because of its anarchic and rebellious spirit. I feel a lot of critics were not really listening the songs and the fact they conveyed huge potency and quality. Maybe many did not like the band’s anti-royalist stance but now, in 2019, an album like this sounds completely right and fresh. I am not saying all critics would rave but we are more used to albums like Never Mind the Bollocks, Here’s the Sex Pistols. If critics were not aware of the Sex Pistols’ place in Punk in 1977 then many felt the same the same about The Rolling Stones and their impact on Rock in 1972 – Exile on Main St. was initially seen as quite ragged and unfocused. Maybe critics were used to a slightly cleaner and more focused style of music but, given the fact it was The Rolling Stones, I am shocked to see any negative reviews for such a great album! Many might see this pattern and think that it is mainly Rock and Punk bands who were ahead of their time. Ramones were subject to doubts when they unveiled masterpieces and the same is true of Black Sabbath and Nirvana. Look at some Pop diamonds and it is not a certain style of music critics misunderstand. I will return to Natalie Imbruglia in a bit but there have been some great Pop records that have been written off and only revaluated further down the line.

Michael Jackson’s Bad arrived in 1987 and, compared to 1982’s Thriller, many felt it was a pale imitation and an album that did not scale the same heights. This is a case of critics comparing artists to what they perceive is their ‘golden days’ and, in 1987, huge albums like Appetite for Destruction (Guns N’ Roses) and The Joshua Tree (U2) were out. Even though this was Jacko, was it the case there was not a lot of Bad-sounding albums around – were critics judging it against what was trending at the time and not given the material a fair shout?! When the Spice Girls released their 1996 debut, Spice, they were perceived by some as another bubblegum band that were not adding anything with depth and quality. Again, look at the year 1996 and the fact albums by Rage Against the Machine (Evil Empire), DJ Shadow (Entroducing.....); Beck (Odelay) and Tupac Shakur (All Eyez on Me) were receiving a lot of praise. Look back now and the Spice Girls’ debut is a solid and memorable set of songs. It actually stands out more now because there is a surfeit of like-minded artists. Girl bands are somewhat redundant and Pop is becoming less anthemic, fun and interesting. 1996 was a hard year to pitch a Pop tent because we had passed through the best of Britpop and a new dynamic was taking shape. Critics were keen to emphasise this and not too concerned with listening to the songs in their own right and not being concerned with how Spice ‘fitted in’.

Perhaps a lot of these once-maligned albums become bigger and more relevant because of how they change music. I do wonder what some critics were listening to when they give albums from Michael Jackson, Spice Girls; Led Zeppelin and Neil Young bad press. Another Pop act that were overlooked because they were outside of current convention was No Doubt. They introduced their eponymous album out in 1992 and it has Ska and Pop mixing together. This was the time when Grunge was ruling and critics were drooling over something a little meatier, masculine and familiar. This is an album many critics are unsure of because it differs to the more radio-friendly Pop they would become known for. One of the most famous cases of an album being judged based on past standards and expectations is The Beatles’ Let It Be. In 1970, many were embracing bands like Led Zeppelin and Black Sabbath and there was less attention for The Beatles. The band was gaining headlines because of tensions and the fact they were nearing the end but many critics in 1970 were not too keen on Let It Be. A lot of contemporaries felt Let It Be was a sorry addition to the band’s output and not a fitting epitaph. Retrospective reviews were kinder and saw true quality. This review from Pitchfork in 2009 highlights issues around the album and how we should view Let It Be:

“And when they finished, no one really liked what they'd laid down on tape. So not surprisingly, the essential nature of Let It Be is that it feels incomplete and fragmented; it's a difficult album to peg because the Beatles were never sure themselves what they wanted it to be. So the best way to approach it is as a collection of songs by guys who still were churning out classics with some regularity. It may not succeed on the level of the Beatles' previous albums, but there's enough good material to make it a worthy entry in their canon”.

There are many cases of albums being judged against what is popular then rather than the quality on display. We can all name other albums that were sort of given short shrift because they did not conform with what was popular back then; maybe it was not what we expected from an established artist but, in many cases, albums have grown and found new room because of changes in terms of sounds and genres. There are bigger albums than Natalie Imbruglia’s Left of the Middle that deserve new ears and bigger reviews but I was particular stirred by her debut. It was a case of there being similar-sounding female artists being around and I think many were too eager to compare Imbruglia to them. Urban Hymns by The Verve came out in 1997; The Prodigy’s The Fat of the Land came out then as did The Chemical Brothers’ Did Your Own Hole and Oasis’ Be Here Now – an album, ironically, that got great reviews back then but, upon closer listen, did not fare too well. I do like Natalie Imbruglia’s debut and think the songs, on their own, stand up and warrant more appreciation. I look at other albums I have mentioned and feel like critics need to judge them fairly and not compare them to the current scene or what they deem is ‘cool’ and ‘original’. The more you think about it and research, you will be shocked by some now-respected albums that, back when they were released, were given...

A beating by critics.

FEATURE: The Not-So-Awkward Teens: A Dozen Brilliant Albums Turning Fifteen in 2019

FEATURE:

 

 

The Not-So-Awkward Teens

IN THIS PHOTO: Björk captured in 2004/PHOTO CREDIT: Warren du Preez and Nick Thornton Jones 

A Dozen Brilliant Albums Turning Fifteen in 2019

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I will do another couple of pieces that look at albums...

 IN THIS PHOTO: The Libertines in 2004/PHOTO CREDIT: Dean Chalkley/NME

celebrating big anniversaries – I am keen to look at those released in 1984 and 1974 – but, for now, I will at the albums turning fifteen this year. It is that stage in life (fifteen) when you are still at school and learning so much; maybe nervous regarding the future but on the way to becoming an album. In musical terms, it is quite a long time but it is good to have a look at these twelve albums below and see how they have aged and the impact they made. I was in university (just) in 2004 and it was a great year when it came to discovering new music. I left that September but I remember a lot of the best records that year and I still have many in my collection. I think it is worth marking any album that has a big anniversary and these L.P.s are no exception. Maybe you are experiencing them for the first time or heard them when they came out – amazed that it was that long ago! I will go back and investigate great records from 1974 and 1984 but, right now, here are twelve exceptional albums that wowed the music world...

 IN THIS PHOTO: Arcade Fire photoed in 2004/PHOTO CREDIT: Getty Images

BACK in 2004.

ALL ALBUM COVERS: Spotify

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The Streets – A Grand Don’t Come for Free

Release Date: 17th May, 2004

Labels: Locked On/679

Producer: Mike Skinner

Review:

“By stressing his paranoia and doubts ("It's hard enough to remember my opinions, never mind the reasons for them," he blubbers as he loses a domestic dispute), he deftly avoids the melodrama of today's network reality TV. Instead, his approach echoes the faux reality of The Office (which shares a non-ending ending with A Grand) and the me-first neediness of its "star" David Brent (whose final-episode self-actualization echoes Skinner's). Like The Office, Skinner's anthropological humanism typically focuses on either the mundane or disappointing-- and, let's face it, life is most often one or the other--- but he does so with such endearing intimacy and bare honesty that it's easy to give yourself over to the album's narrative on first listen and, perhaps just as importantly, to want to revisit it over and over again” – Pitchfork

Standout Cut: Dry Your Eyes

Stream/Download: It Was Supposed to Be So Easy/Blinded by the Lights/Fit But You Know It

Kanye West – The College Dropout

Release Date: 10th February, 2004

Labels: Def Jam/Roc-A-Fella

Producers: Various

Review:

“Even though those with their ears to the street knew West could excel as an MC, he has used this album as an opportunity to prove his less-known skills to a wider audience. One of the most poignant moments is on "All Falls Down," where the self-effacing West examines self-consciousness in the context of his community: "Rollies and Pashas done drive me crazy/I can't even pronounce nothing, yo pass the Versacey/Then I spent 400 bucks on this just to be like 'N*gga you ain't up on this'." If the notion that the album runs much deeper than the singles isn't enough, there's something of a surprising bonus: rather puzzlingly, a slightly adjusted mix of "Slow Jamz" -- a side-splitting ode to legends of baby-making soul that originally appeared on Twista's Kamikaze, just before that MC received his own Roc-a-Fella chain -- also appears. Prior to this album, we were more than aware that West's stature as a producer was undeniable; now we know that he's also a remarkably versatile lyricist and a valuable MC” – AllMusic

Standout Cut: All Falls Down                         

Stream/Download: Jesus Walks/The New Workout Plan/Slow Jamz

Devendra Banhart – Rejoicing in the Hands

Release Date: 24th April, 2004

Label: Young God

Producers: Devendra Banhart/Michael Gira

Review:

“Rejoicing in the Hands establishes Banhart as a major voice in new folk music. Not only does it improve on the promise of his earlier releases; it effortlessly removes the listener from the context of the recording. That is, it doesn't seem like an album so much as a collection of road hymns and journals, and small tributes to smaller pleasures. If some people miss the appeal of this stuff in an attempt to digest it as any other product, all the better knowing Banhart will probably keep on rejoicing until forever” – Pitchfork  

Standout Cut: This is the Way                       

Stream/Download: The Body Breaks/Will Is My Friend/See Saw

Green Day – American Idiot

Release Date: 20th September, 2004

Label: Reprise

Producers: Rob Cavallo/Green Day

Review:

“...All of which should make anyone want to hole up with an Ramones album. But Green Day — namely, frontman Billie Joe Armstrong — make the journey entertaining enough. At various times, American Idiot evokes football-game chants, ’50s greaser rock, military marches, classic rock (hints of ”Strawberry Fields Forever” and ”All the Young Dudes”), and the band’s own past (”Wake Me Up When September Ends,” an elegiac bookend to their own ”Good Riddance [Time of Your Life]”). As often happens with concept albums, the disc tends to rely on lyrics over music, so some of the songs are forgettable. But Green Day are now slinging mud not at their audience but at America’s pumped-up militaryindustrial complex — where ”a flag [is] wrapped around a score of men” and war rages ”from Anaheim to the Middle East” — without losing their bratty humor or power chords” – Entertainment Weekly   

Standout Cut: American Idiot                       

Stream/Download: Holiday/Boulevard of Broken Dreams; Give Me Novocaine/She’s a Rebel; Wake Me Up When September Ends

Loretta Lynn – Van Lear Rose

Release Date: 27th April, 2004 (U.S.)

Label: Interscope

Producer: Jack White

Review:

“Each song is sung by Lynn's untarnished voice. She has somehow managed to maintain her gorgeous vocal cords through the years, sounding as youthful as ever.

The musical accompaniment here really pushes the songs to great heights. Whether it's the slight airiness around one of Jack's guitar riffs, a crisp crack of a snare, or the sudden emergence of slide guitar, the additional instruments provide a complimentary boost. Jack's production techniques sound both aged and modern; a fine balancing act that does Loretta's solid songs much justice. Without White's assistance, these immaculate tunes may have not gotten the exposure they certainly deserve. Van Lear Rose owes its greatness to timing and well-bred songwriting” – Tiny Mix Tapes

Standout Cut: Family Tree                              

Stream/Download: Portland, Oregon/Have Mercy/This Old House

Arcade Fire – Funeral

Release Date: 14th September, 2004

Label: Merge

Producer: Arcade Fire

Review:

““Neighborhood #1 (Tunnels)” captures 24-year-old Butler’s obsession with innocence and his fantastical way of exploring it. A blizzard covers the suburbs, burying the parents, and two young lovers meet to start the world over again. Snow is a symbol for death and renewal. Blackouts play a similar role in the gentle, New Wave–tinged “Une année sans lumière.” Chassagne — who sings one of the album’s best songs, the nostalgic “Haiti,” and its worst, the precious “In the Backseat” — shares his preoccupations.

As the parentheses and French title suggest, this youth movement is more pretentious than, say, blink-182’s. But while Butler’s lyrics can feel overwrought, his desperate yelp and cracked croon add patina and grit to the purple. And the music — whether danceable, bittersweet, stately or avalanching — reveals added nuance with every listen. Which is to say, it ages gracefully” – Blender

Standout Cut: Rebellion (Lies)                       

Stream/Download: Neighborhood #2 (Laika)/Haiti/In the Backseat

The Libertines – The Libertines

Release Date: 30th August, 2004

Label: Rough Trade

Producer: Mick Jones

Review:

“Despite conflict being writ large over the album, the only actual fight occurred during the recording of'Music When The Lights Go Out', a beautiful acoustic strum. Elsewhere, the songs not explicitly dealing with Pete'n' Carl's relationship are even better.'Campaign Of Hate', 'The Ha Ha Wall' and 'Narcissist' are La's-inspired Libland anthems superior to anything on the debut. Meanwhile 'What Katie Did' and 'Don't Be Shy' display a new-found tenderness.

But it's 'The Man Who Would Be King' that's perhaps the album's greatest achievement. Displaying the best "la la la"s since [a][/a] first flexed his larynx for'This Charming Man', it then dissolves through a haze of trumpets into a waltz as deliciously hazy as [a][/a]''Golden Brown'.

'The Libertines' even manages a little social commentary. The 73-second punk thrash 'Arbeit Macht Frei' (translation: 'Work Liberates') takes its title from the sign above the gates of the Auschwitz camp where millions of Jews were gassed. Ladling it on thickly, its payoff comes from a British soldier who fought the Nazis but doesn't like "blacks or queers".

Finally, there's'France', a fragile lament sung by a weezing Carl to a former French girlfriend. After the fighting, it's a moment of beauty, like sunshine after a storm: a reminder of what Libertines are. And what they could still be.

Whatever happens, this an extraordinary, once-in-a-lifetime album, proving Libertines are both the stuff of revolution and aesthetic princelings among the (very) lumpen indie proletariat. We won't see their like again” – NME

Standout Cut: Can’t Stand Me Now          

Stream/Download: Last Post on the Bugle/Music When the Lights Go Out/What Katie Did

Björk – Medúlla 

Release Date: 30th August, 2004

Labels: One Little Indian/Elektra

Producers: Björk/Mark Bell

Review:

“Björk began recording the album with those darned old instruments before her au naturel epiphany, but only a couple of tracks belie their origins as conventional pop songs. Most easily digestible is the peppy, nearly hip-hop-flavored ”Triumph of a Heart” tucked away at disc’s end, as if a reward for making it through the more challenging passages. Leading up to that, you get a few sinister-sounding examinations of human behavior whose growling, gulping, or moaning will alienate some ears. ”Submarine” has guest Robert Wyatt warbling for help in queasy falsetto, sounding like Carl Wilson trapped under ice. Her strikingly beautiful Olympics song, ”Oceania,” is more rapturously aquatic, the computer-enhanced choir behind Björk suggesting a cosmic harem of pleased dolphins. Here she imagines herself as the sea itself, proud of all the belegged creatures she’s spit out onto land over the last hundred million years. It’s the nearest evolutionists have come to having their own gospel tune.

Björk has said a guiding rule for the album was ”not to sound like the Manhattan Transfer or Bobby McFerrin.” Well, duh — but if that was hardly a danger, there was every likelihood that the album’s synths-for-larynxes quid pro quo would be remembered as a stunt, at best, instead of one of her best efforts. To anyone approaching Medúlla with that apprehension, we offer these four words: Don’t worry, be happy” – Entertainment Weekly

Standout Cut: Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)  

Stream/Download: Pleasure Is All Mine/Oceania/Triumph of a Heart

Franz Ferdinand – Franz Ferdinand 

Release Date: 9th February, 2004

Label: Domino

Producers: Franz Ferdinand/Tore Johansson

Review:

“On the rare occasions that an alt-rock artist dabbles with sexual ambiguity in their lyrics, they either start carrying on as if they personally invented the concept of homosexuality and deserve some sort of medal - see electro-rapper Peaches - or else, like Suede, they overdo the mincing and end up sounding ridiculous, like John Inman visiting an indie disco. Michael does neither, settling for an intriguing combination of sly humour and bug-eyed lust, as if the song's central character started camping it up for a laugh and ended up in rather deeper water than he had anticipated.

You simply don't get songs like Michael very often in current rock music. It's symptomatic of the originality that makes Franz Ferdinand so intriguing. Their debut album pulls off a fine balancing act: clever without sounding pretentious, idiosyncratic but easy to get along with, a shift away from post-Britpop traditionalism that still recognises the importance of writing great pop songs. You can only hope their success continues long after the madness of the January charts has subsided. Listening to their debut album, that seems a fairly safe bet” – The Guardian

Standout Cut: Take Me Out

Stream/Download: Tell Her Tonight/The Dark of the Matinée/Michael

Elliott Smith – From a Basement on the Hill 

Release Date: 18th October, 2004

Labels: ANTI-/Domino (U.K. and Europe)

Producers: Elliott Smith/Rob Schnapf/Joanna Bolme

Review:

“Perhaps it's not "the next White Album," which is what McConnell claims it could have been, but it has a similarly freewheeling spirit, bouncing from sweet pop to fingerpicked acoustic guitars to fuzzy neo-psychedelic washes of sound. It's not far removed from Smith's previous work, but it feels like a step forward from the fussy Figure 8 and more intimate than XO. The most surprising twist is that despite the occasional lyrics that seem to telegraph his death (particularly on "A Fond Farewell"), it's not a crushingly heavy album. Like the best of his music, From a Basement on the Hill is comforting in its sadness; it's empathetic, not alienating. Given Smith's tragic fate, it also sadly seems like a summation of his work. All of his trademarks are here -- his soft, sad voice, a fixation on '60s pop, a warm sense of melancholy -- delivered in a strong set of songs that stands among his best. It may or may not be exactly what Elliott Smith intended these recording sessions to be, but as it stands, From a Basement on the Hill is a fond farewell to a singer/songwriter who many indie rockers of the '90s considered a friend” – AllMusic

Standout Cut: Pretty (Ugly Before)

Stream/Download: Don’t Go Down/Twilight/Shooting Star

Brian Wilson – Brian Wilson Presents Smile 

Release Date: 28th September, 2004

Label: Nonesuch

Producer: Brian Wilson

Review:

“Here, then, is a faithfully remade version of that celestial undertaking, minus the Beach Boys, of course, and no longer clothed in the warm glow of analogue recording technology, but mind-blowing all the same. From the opening a capella harmonies of 'Our Prayer/Gee' to the closing chords of 'Good Vibrations', it unfolds in its original, and never before complete, sequence as a thing of rare beauty and cumulative power.

Like 'Surf's Up', the song that ends the album's second movement, the seldom heard 'Roll Plymouth Rock' is another of Parks's elliptical lyrics, though more instantly recognisable as a signature Beach Boys song than almost anything else here. 'Mrs O'Leary's Cow', originally titled 'Mrs O'Leary's Fire', may well be the 'scary orchestra piece' that Wilson alluded to, still looking disturbed by the memory, when I interviewed him a few years back. It is uneasy listening in every sense, and the only segment that suggests the fragility of his mind back then, and the abyss he fell into thereafter.

The rest is as wondrous and as complex as the claims made on its behalf for all those years, though strangely disconcerting in a kind of Brian Wilson heritage industry way. (Imagine, by way of comparison, McCartney re-recording 'Sgt. Pepper' with George Martin and the best Beatles' tribute band in the world.)

For all that, it raises one of pop's great unanswerable questions: had Brian kept it together back then, where would he have gone from here? God only knows” – The Observer

Standout Cut: Heroes and Villains

Stream/Download: Roll Plymouth Rock/Wonderful/Surf’s Up

Nick Cave & the Bad Seeds – Abattoir Blues/The Lyre of Orpheus 

Release Date: 20th September, 2004

Label: Mute

Producer: Nick Launay

Review:

“Cave also has a sense of humour (he once penned an open letter insisting that he would not "harness my muse to this tumbrel, this bloody cart of severed heads and glittering prizes", certainly an original way to decline an MTV award), a fact that emerged in No More Shall We Part and becomes even more evident here. Repeatedly, the lyrics make you laugh out loud. His retelling of the myth of Orpheus ends with everyone concerned profoundly unmoved by his lamentations: God ("a major player in Heaven") throws a hammer at him, while Eurydice emerges from the underworld and threatens to shove his lyre up his arse.

There She Goes My Beautiful World picks at the subject of writer's block, snapping disconsolately at other artists' means of finding inspiration: "Gauguin, he buggered off man, and went all tropical." Abattoir Blues is packed with standard apocalyptic Cave imagery, but he sounds most horrified about a visit to Starbucks: "The sky is on fire, the dead are heaped across the land," he moans. "I woke up this morning with a Frappucino in my hand."

You can't really imagine anyone else in rock writing lyrics like that, but then, you really can't imagine anyone else making an album like this. Abattoir Blues/The Lyre of Orpheus is an entirely unique return to form” – The Guardian

Standout Cut: Nature Boy                              

Stream/Download: Get Ready for Love/Messiah Ward/Breathless

FEATURE: One Love: The Ultimate Playlist: Remembering Bob Marley at Seventy-Four

FEATURE:

 

 

One Love: The Ultimate Playlist

IN THIS IMAGE: Bob Marley/ART CREDIT: Naydene Gonnella  

Remembering Bob Marley at Seventy-Four

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THE iconic Bob Marley would have been seventy-four today...

 IN THIS PHOTO: Bob Marley captured in 1980/PHOTO CREDIT: © Lynn Goldsmith

and, whilst he died tragically young (only thirty-six), his impact on music is obvious. There have been few artists able to make such an impression in such a short life – I can only think of John Lennon off the top of my head! Marley’s distinct and powerful sound helped bring Reggae to the masses and his voice is eternal. You only need hear a few seconds of a Bob Marley song and know you will be seduced, amazed and educated. Whether solo or playing with his Wailers, there is a huge catalogue of material out there. I only discovered Bob Marley when I was in middle school and, whilst that may sound young, there are those who were exposed to his music even earlier. I think the first track of his that sticks in the mind is Iron Lion Zion. I love its energy and how catchy it is but, years later, I went back and explored its messages and symbolism. Marley was not an artist who wrote songs and simply wanted them to be chart hits that people could bop to: his words were like political and religious sermons; a chance to unite people and raise awareness. Not only were there political intents but religious and spiritual ones. Whilst I am not an aficionado when it comes to Reggae and aware of a lot of the racial tensions that Marley speaks of; I could easily emphasise and attach myself to his music.

1977’s Exodus is one of my favourite albums and songs such as Jamming, Waiting in Vain and Three Little Birds are classics. That album was the ninth from Bob Marley and the Wailers and followed an association attempt. Marley fled Jamaica and arrived in London; the album was recorded after one of the most stressful and frightening experiences of Marley’s life yet there is so much peace, love and togetherness. This album especially resonated with the critics. If Marley had strayed more away from specific political messages and a focused vision; more towards a more general vibe of love and togetherness, that did not make the music any less spectacular – as AllMusic state in this review:

“Thematically, Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his lyrics dealt less with specifics and more with generalities and the need for peace and love (though "So Much Things to Say," "Guiltiness," and "The Heathen" demonstrate the bullets had taken only so much sting out of Marley's lyrics). And while songs like "Exodus" and "One Love/People Get Ready" were anthemic, they also had less to say than the more pointed material from Marley's earlier albums...

IMAGE CREDIT: Spotify 

However, if Marley had become more wary in his point of view (and not without good cause), his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, including the title song, "Three Little Birds," "Waiting in Vain," and "Turn Your Lights Down Low," tunes that defined Marley's gift for sounding laid-back and incisive at once. His gifts as a vocalist were near their peak on these sessions, bringing a broad range of emotional color to his performances, and this lineup of the Wailers -- anchored by bassist Aston "Family Man" Barrett, drummer Carlton Barrett, and guitarist Julian "Junior" Murvin -- is superb, effortlessly in the pocket throughout. Exodus was recorded at a time when Bob Marley was learning about the unexpected costs of international stardom, but it hadn't yet sapped his creative strengths, and this is one of the finest albums in his stellar catalog”.

The music and legacy of Bob Marley means a lot of different things to different people. It is clear Marley made a huge impact on the world and certainly changed it for the better. As I said earlier, we often jump to Bob Marley when defining what Reggae is and the power it holds. This article from The Conversation explains in more detail:

“If there is anything that is to be associated with reggae music, the Afrocentric religion of Rastafari, or the Caribbean island of Jamaica, the first name that comes to mind is Bob Marley. Despite this, the reality that the world often tends to associate Marley with is far different from the one he grew up in more than 70 years ago...

 

Marley lived in a Jamaica that had experienced more than 200 years of slavery and colonialism. This would have a great impact on him, considering that he was born from a white father and a black mother. The key to understanding Marley was not merely the music but the life experiences that played a part in shaping the individual and, ultimately, the music that the world would come to know”.

The article explores his background but also makes a good point regarding the depth of the music. Marley was not merely about getting the sound right and making a song chime on one level. His music was a way of conveying vital messages and he helped fight for causes, speak of religion and the need to come together. The Conversation article touches on this:

“Marley’s influence was not limited to simply making music for the sake of entertainment. He was most noted for using his music to spread the message of Rastafari. Rastafari is a phenomenon that began in the 1930s in response to a message given by Jamaican nationalist Marcus Garvey, who proclaimed that African people in the diaspora should look to Africa, where a black king would be crowned. It was here that they would find their redemption.

There are very few musicians in this present day that may claim to use their music to fight for causes that Marley may have fought for. Marley did not only speak about love and unity among all mankind as seen in his 1977 song One Love. He also spoke about the sufferings of the world in his songs. These include So Much Trouble in the World, Burnin’ and Lootin’, Johnny Was and War. This is what has made Marley not just relevant to his time but to ours as well”.

We all have our list of favourite Bob Marley/Wailers tracks and I have ended with a playlist – I hope I have covered the bases! Whilst Marley did die young, he made this enormous impression on music and, throughout his career, he was making music that reflected the violence and division around him. This piece talks about the legendary One Love Peace Concert in 1978:

“On April 22 1978 at The National Stadium in Kingston, the One Love Peace Concert, or 'Third World Woodstock' as it was known, took place in front of 32,000 spectators.

The violence was so out-of-control in Kingston at the time that there was a ban on the sale of oranges at the festival. Authorities feared they'd be used as weapons.

During the concert, under a full moon, Marley improvised while performing his song Jammin' and spontaneously summoned the Prime Minister, Manley, and the opposing leader, Seaga, to join him on stage.

"I'm not so good at talking but I hope you understand what I'm trying to say.

"Well, I'm trying to say, could we have, could we have, up here onstage here the presence of Mr. Michael Manley and Mr. Edward Seaga. I just want to shake hands and show the people that we're gonna make it right, we're gonna unite, we're gonna make it right, we've got to unite.

"The moon is right over my head, and I give my love instead. The moon was right above my head, and I give my love instead," Marley said”.

PHOTO CREDIT: Getty Images 

I can’t think of that many artists who have done so much to progress music and advance certain genres/spiritual movements. I wonder what Marley would make of the modern world and whether he would still be making music. I’d like to think the man would be, in his seventies, jamming away and putting the world to rights! He would be attacking Donald Trump and the hate in the world and I wonder whether Trump would have even been elected had Marley lived longer and written more! We need a figure like Bob Marley now more than ever and, whilst there are some potent songwriters who can unite us, nobody was able to project the same power as Marley! His songs are timeless and his themes of peace, love and acceptance will never die. We need to hold onto his music and use it to help inform the world and make it a better place. That may sound sappy but that is all Marley wanted; he wanted to highlight tensions and discrimination but help bring about change and understanding through peaceful means. Bob Marley was a political leader and god-like icon; a true hero that made us all smile and feel better. As we remember him on his seventy-fourth birthday, have a listen to the playlist below and realise what a hugely important figure...

BOB Marley is.  

INTERVIEW: Ed Poole

INTERVIEW:

Ed Poole

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I have really enjoyed getting to know Ed Poole...

and discovering how his new song, Knives, started life. He discusses the song’s awesome video and reveals the music that captivates him – Poole selects a few albums that mean a lot to him and highlights some rising artists worth exploring.

I ask when there might be some tour dates and whether he gets chance to chill away from music; what we will get from his upcoming album, Envelop/Erase; how important it is being on the stage and whether Poole has a favourite memory from his time in music – he ends the interview by selecting a great song.

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

My week has been great, thanks. Busy but great!

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

Hi! I’m Ed Poole. I’m a singer/songwriter based in Liverpool, U.K. - although I’m originally from Huddersfield, West Yorkshire. I’ve been writing, releasing and performing music on my own since 2012. I’ve released two E.P.s called Winters and in the Company of Old Friends.

I recently signed to a new indie label in Liverpool called Doing Life Records who have helped me put out a split-E.P. (with my friend Seven Years Behind) and two standalone singles since 2016. I’ve played all over the U.K. and I’ve been lucky enough to open for some of my favourite artists, such as Kevin Devine, Get Cape Wear Cape Fly; The Xcerts and Vinnie Caruana.

I like movies, coffee; sport (some of it) and food (all of it)!

The music video for Knives has been released. What is the tale behind the song?

I wanted to write something that sounded really catchy and fun but also a bit more personal, lyrically, than I had done before. I demoed it a few times and, during that time, it went through loads of different versions. I eventually hit upon the dry 808 beat that drives it along which was something I hadn’t really tried before and it really excited me.

It’s about my own personal experiences of feeling a bit helpless and overwhelmed. Sometimes, I feel like you aren’t able to chase the demons away by yourself and you’re scrambling around in the dark.

Ultimately, however, the only way to find your way out is to learn to trust the inner-voice that comes from a place of self-confidence, rather than self-doubt.

The video was filmed in Liverpool. Was it a great video to shoot?

Yeah, it was a lot of fun. We filmed it one Saturday afternoon in my bedroom! I wanted to do something that was relatively quick and easy to shoot as well as being fun and representative of the song. I think we achieved that! We put a camera on top of a foot stool, a stack of books and a biscuit tin and just let it roll.

The hands you see popping into shot throughout belong to Simon (from Doing Life Records) and my wife, Nic. The hardest part was not bursting into laughter during takes because all of us had the giggles, throughout. It’s safe to say they enjoyed throwing sponge balls at my head.

Envelop/Erase is your upcoming album. Do you think there are common themes and ideas that unite the songs?

Certainly. The idea that there are certain societal pressures - that have grown stronger over the last decade or so and have been exacerbated by social media - that can lead a person to feel as though they must outwardly project an idealised version of themselves as opposed to the ‘real’ version. I wanted the album to explore the idea that, when these ‘idealised versions’ are placed on such a pedestal, they can consume a person’s true identity and ultimately lead to loneliness and dissociation: kind of a long-winded way of saying “Oi! There’s nothing wrong with being boring, sometimes. Enjoy it!”

Also, I thought longer and harder about lyrics - something I usually struggle with - than before and made a conscious effort to be more open and honest about my personal feelings and experiences than I’d perhaps been before. I think this has resulted in the most honest set of songs that I’ve ever written. Hopefully, this comes across when people listen to it!

Is there a song from the album that you count as a favourite?

I keep changing from one to the other but I would have to say Knives. I think it best encapsulates what I wanted the whole album to be about, both musically and lyrically.

What do you think of the modern scene? Do you listen to a lot of new artists?

I think it’s much harder to build and maintain a strong music scene in the modern day. We are losing venues at a faster rate than in the past and there are, of course, more methods of entertainment available which may contribute to fewer people going out to check out local gigs. That being said, new venues still spring up all the time and there are so many incredible artists out there making music, right now. We just need to support and look after them (venues and artists alike).

Personally, I try to keep up to speed with new music as much as possible and I’m always open to new recommendations. Where I am, in Liverpool, we have a really exciting scene at the moment.

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

I’d have to say my first experience of playing 2000trees Festival which was back in 2013. I was due to play an unplugged set (after hours) and was absolutely bricking it. Probably the most nervous I’ve ever been before going on stage. It was in the area which is now the Forest stage and it was packed with drunk festival goers. I was convinced I’d have empty tins of Strongbow bouncing off my head. As it turned out, they were all incredibly quiet and listened intently throughout the set. The buzz I felt afterwards was phenomenal! 

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

By the Way - Red Hot Chili Peppers

This is such a nostalgic album for me. When I listen to this record, I can literally close my eyes and remember almost everything I did in the summer of 2002, just after I left secondary school, being soundtracked by this album. Growing up, I was a huge Chilis fan and, whilst some of their output hasn’t aged all that well, this one seems to get better the older it becomes.

The '59 Sound - The Gaslight Anthem

This album was the first time my wife ever recommended any music to me, just after we had started dating. It had just come out and has been a favourite that we have shared ever since.

Sprained Ankle - Julien Baker

I can’t think of another artist that has had a more significant and immediate impact on me than the first time I heard Julien Baker. Everything about this album punches me right in the guts (in a good way). I love how minimal it is yet it sounds so huge at the same time. How she can tear you to pieces and then pick you back up all within the same song never fails to astound me.

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

I’d support Bruce Springsteen and my rider would contain a signed photo of Bruce, three cans of Beavertown Neck Oil IPA and a packet of Imodium Instants.

What advice would you give to new artists coming through?

Practice hard, gig as much as you can and be polite and kind to everyone you meet on the road!

How important is it being on the stage and performing to people?

To me, it’s incredibly important. The best feeling I get from music is from playing gigs. As much fun as it is to write and record, there’s no feeling like performing live. I’m convinced I’ll be doing it forever, in one capacity or another. I couldn’t give it up.

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

There certainly are! I’ll be heading out for a few shows with my friend, B-Sydes, in February. B-Sydes and I have known each other for a while and I’m hugely excited to be able to get out on the road and play some shows with him.

16th February - Cambridge, Relevant Records Café

19th February - Worcester, Paradiddle’s Café Music Bar

22nd February - Manchester, Gulliver’s (supporting Andy Oliveri)

23rd February - Album Launch Show @ Liverpool, Outpost

 IN THIS PHOTO: SPQR

Are there any new artists you recommend we check out?

In terms of Liverpool-based artists, I would strongly recommend checking out SPQR, A Burial At Sea and COLOUR. From elsewhere in the U.K., there is an amazing band called PEAKES (from Leeds) who I highly recommend. I think Lizzy Farrall is cool, too.

 IN THIS PHOTO: PEAKES

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

I am a huge fan of sitting and doing nothing - literally, just sitting. I cannot stress enough how relaxing a good sit can be. You can dress it up by adding a beer, glass of wine; cup of tea or whatever but the act of deciding you are done for the day and having a sit down is just the best.

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).

Barbados by Lizzy Farrall, please!

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Follow Ed Poole

Twitter:

https://twitter.com/edpoolemusic

Facebook:

https://www.facebook.com/edpoolemusic/

Instagram:

https://www.instagram.com/ed_poole/

Spotify:

https://open.spotify.com/artist/0jD8aMifFsmcC3sW2H1DFu?si=nc8V4lGHRWq6-OwSByUiyw

Bandcamp:

https://edpoole.bandcamp.com/