INTERVIEW: Matthew Gordon Price

INTERVIEW:

PHOTO CREDIT: Taylor Harford

Matthew Gordon Price

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THIS time around...

I get to speak with Matthew Gordon Price about his new single, Grow Old Together, and how that came to life. I ask what sort of music compels him and what he has in store going forward; some approaching artists we need to check out and how he unwinds away from music.

Price discusses his tour plans and gives advice to upcoming artists; how his music has evolved since his earliest days and which artist(s) he’d support on tour if he had the chance – he picks a cool song to end the interview with.

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

It’s been a bit hectic and we’ve had lots of practice for a few live sessions which are coming up but, apart from that, just focusing on the new releases

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

I was born in Somerset, originally, and now live in Devon. I’m in a few projects currently but my main focus is my original material which currently showcases an Indie-Folk vibe but I’m always writing different types of tracks – Classical, Indie; Rock-y-Folk stuff so, in the future, there might be a surprise or two.

When did music arrive in your life? Did you discover it young?

Ever since I was young, I’d always be found creating mix tapes or listening to my parent’s collection of music which ranged from Bob Marley to Queen.

Are there any musicians you consider to be idols and big influences for you?

My Favourite band is and always will be Queen (maybe The Kinks. Haha) but my main influences are Damien Rice, Noah Gundersen and Keaton Henson.

Can you talk about your new single, Grow Old Together, and what it concerns?

It has a different pace to what I usually write but I really wanted to get my more upbeat Folk tunes out this year and I feel this track will have a few people saying “this is different”…hopefully. The song itself is about how sometimes you feel you’ve found the one you’re meant to spend the rest of your life with but end up being wrong…and then you fall into something new but you’re wrong again (haha) until finally you actually get it right.

Do you feel like there might be even more material coming later in the year?

I have a few more tracks lined up which will probably appear on an E.P. together. They will be Arrows and Everything I Could.

How do you feel your music has changed and evolved since the early days?

I’ll be honest: in the early days I couldn’t really sing, couldn’t really play a guitar very well or write very well. Haha. So, I’ll say that, hopefully, it keeps changing and I keep experimenting with sounds to really craft songs that I am proud of and that people enjoy.

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

I wouldn’t say a fave memory but I’ll say that sometimes when you have a gig or even live session where you almost lose yourself in the moment and you’re really gone. Hard to explain but I’ve had it a few times and nothing comes close to that…well, currently, anyway…

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

Keaton Henson - Romantic Works

A Classical album by one of my fave musicians – it’s perfect.

Damien Rice – O

This is, by far, my fave album and it’s because Damien Rice. Simple

Queen - Greatest Hits

It got me through my whole childhood and it’s still up there as one of my faves.

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

I’d love to support Mumford & Sons, Matt Corby or Damien Rice. My rider would have to include bottle of Honey Jack Daniel’s; Papa John’s pizza and probably some Dreemys from Aldi.

What advice would you give to new artists coming through?

Practice a lot. Write a lot. And email every venue at least three times (if they don’t reply to you the first two times - persistence is key).

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

We have a few for 2019 and festivals but we can’t announce anything yet I’m afraid. More info on www.matthewgordonprice.com.

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

It’s funny as I started music because I wanted to entertain, then I learned how to play and write and then became much more involved with writing for myself and thought I’ll play what I want etc. But now I’m in the middle and realise you got to please the crowd but also you have to write for yourself.

 IN THIS PHOTO: Noah Gundersen/PHOTO CREDIT: Eric Tra

Are there any new artists you recommend we check out?

Allen Stone; Noah Gundersen; Jamie Yost; Drakes Island.

 IN THIS PHOTO: Jamie Yost/PHOTO CREDIT: Richie Bolgiani

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

I usually get Monday to Thursdays off from singing but usually we are doing some sort of admin and sometimes we do have to practice.

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).

Drakes Island – Only Passing Through

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Follow Matthew Gordon Price

PHOTO CREDIT: Taylor Harford 

Official:

http://www.matthewgordonprice.com/

Twitter:

https://twitter.com/MattGordonPrice

Facebook:

https://www.facebook.com/MatthewGordonPrice

Instagram:

https://www.instagram.com/matthewgordonprice/

Spotify:

https://open.spotify.com/artist/4ohf9VcNzWAKLRPkIbaFMq?si=1cukREAqRoC7eqIH982s2Q

SoundCloud:

https://soundcloud.com/matthewgordonprice

FEATURE: Dulwich That Needs Scratching: The Twelve Finest Records of the Year So Far

FEATURE:

 

 

Dulwich That Needs Scratching

IN THIS PHOTO: Sleaford Mods/PHOTO CREDIT: Getty Images 

The Twelve Finest Records of the Year So Far

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EVEN though we are not even in March...

IN THIS PHOTO: Sharon Van Etten/PHOTO CREDIT: Ryan Pfluger

there have already been some big albums released this year and March is promising some terrific releases – as I shall cover over the weekend. I have looked at the albums released so far this year and honed down to twelve. I feel we can all agree this year has started brightly and positively - and let’s hope this continues without interruption. You might have your own ideas regarding the best releases of 2019 (so far) and that is pretty cool – music is a broad spectrum and everyone will have their views. This month is not yet over and, as I will show, I am including a few albums that are out then. The next few weeks will see tremendous albums come out so it is hard to keep a handle on it but, as I say, this year is a pretty exciting one. Have a look at these albums – and buy them if you can – and I am sure you will have opinions regarding additions to the list. If you need to add to your album collection and want some fresh sounds in the mix then you cannot go...

 IN THIS PHOTO: Ariana Grande

FAR wrong here.

ALL ALBUM COVERS: Spotify/Getty Images

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Sleaford Mods – Eton Alive

Release Date: 22nd February, 2019

Label: Extreme Eating Records

Order/Listen: https://cargorecordsdirect.co.uk/products/sleaford-mods-eton-alive

Review:

“Fearn’s arrangements are more sophisticated than ever before, the bassy groove of ‘Big Burt’ (“Shelling out 1500 pound to see an ‘asbeen who can’t even do three gigs in one go – what’s that?)sounding like an actual song. And ‘Top It Up’, with an ominous synth line, veers into art-pop territory. This indicates the polish that success has afforded Sleaford Mods (on ‘OBCT’ Williamson admits he lives “in a house three times the size of my old one” and drives past “Oliver Bonas in the Chelsea tractor”). But they’ve not changed. They’re still taking the piss.
Sometimes a joke starts wearing thin, but goes on so long that it comes back around. And ‘Eton Alive’ is a pretty great punchline. Not everything has to be escapist or explicitly political – sometimes you just want to hear people make gags about a world that you recognise. It’s cathartic, it’s entertaining. It says: you exist. ‘Eton Alive’ makes Sleaford Mods funny again” – NME

Standout Cut: Kebab Spider

Download/Stream: O.B.C.T/Top It Up/Firewall

Ariana Grande – thank u, next

Release Date: 8th February, 2019

Label: Republic

Producers: Various

Order/Listen: https://open.spotify.com/album/2fYhqwDWXjbpjaIJPEfKFw?si=r9hTuFKbRMKunF1q0tgNxA

Review:

“The calls to self-love only ring as radical so long as they exist in tandem with the loss before. Ghosts are just fantasies in reverse (“He just comes to visit me/ When I’m dreaming every now and then”) and an ex-anything is just proof of the impact our self and voice has made. Ex- implies its opposite: next.

I hope you find love next. Love, like pop songs, is an improper rendering of a set of untranslateable data; tattoo your mistranslations and imbalances to your body and wave them in the air. Only in something like love, something near next, can we learn to empathize with others, to empathize with ourselves. thank u, next sees our ghosts, feels our echoes, and motions toward a future. Whitney called it “the greatest love of all”; Ari hiccups and hums: “thank you, next” – Tiny Mix Tapes

Standout Cut: fake smile                              

Download/Stream: NASA/bad idea/7 rings

Drenge – Strange Creatures

Release Date: 22nd February, 2019

Label: Infectious Music

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

Review:

“Observations such as “your eyes were like two Catherine wheels/ Just spinning, spinning, spinning” capture a manic intensity echoed by the unhinged drums and psychedelic feedback. It sets the eerie tone of unease that permeates the 10 cinematic tracks, from the ghostly late-1970s synths of “This Dance” to the doom-laden “No Flesh Road” and the deep chants over closing song “When I Look Into Your Eyes”. There’s tender introspection here, too, in the reverb-heavy “Avalanches”.

The title track is an intoxicating mix of stately Paul Banks-esque post-punk vocals, synths, electronic flute, and a searing guitar riff. It’s a riff fit for stadiums, by a band who have the ferocity to be there” – The Independent

Standout Cut: Bonfire of the City Boys    

Download/Stream: Autonomy/Strange Creatures/Avalanches

Sharon Van Etten – Remind Me Tomorrow

Release Date: 18th January, 2019

Label: Jagjaguwar

Producer: John Congleton

Order/Listen: https://open.spotify.com/album/2dvXk4nacVRmDSnbKniwrS?si=SMAH21u9RwmlDKp87l_YXw

Review:

“It mixes despair for her poor decisions, nostalgia for that headstrong girl, and anxiety over what she would make of her now. “I know what you’re gonna be,” Van Etten taunts at full vocal power: “You’ll crumple it up just to see/Afraid that you’ll be just like me!” She gives no indication of who is right: the teenager disgusted at the thought of growing up and joining the straight world, or herself now, wanting to protect that girl who had no idea what difficulties were to come. What do you attempt to hold onto and let go of?

“I don’t know how it ends,” Van Etten sings dreamily on “Stay,” a reverie of rippling piano and bass that addresses the need for reciprocal support and independence between a mother and her child. It sounds like a resolution, or at least her making peace with how to develop trust when everything can slip away so easily, but the arrangement is still anesthetized, unresolved. Having more to live for, hence more to lose, is rarely soothing. But it’s worth the mess” – Pitchfork

Standout Cut: Seventeen                              

Download/Stream: I Told You Everything/Comeback Kid/Malibu

James Blake – Assume Form

Release Date: 18th January, 2019

Label: Polydor Records

Producers: Various

Order/Listen: https://open.spotify.com/album/23dKNZpiadggKHrQgHLi3L?si=9yrkN1YoTcKzOXGqeycUwg

Review:

“Though the features add texture and variation to a record that’s constantly shapeshifting, it’s James’ solo songs that define the album. ‘Where’s The Catch’ is followed by the gorgeous ‘I’ll Come Too’. A lovestruck ballad, the song glides upon an instantly memorable vocal line via which he reaches more personal epiphanies. “I’m gonna say what I need, if it’s the last thing I do,” he begins emphatically. “I’ll throw my hat in the ring / I’ve got nothing to lose.”

‘Power On’, which follows the track, is an even more forceful exorcism of past demons and the album’s stunning centrepiece. “I thought I might be better dead but I was wrong,” he begins, reflecting on former mistakes from a new vantage point. As the song draws to a triumphant close, he turns these personal revelations outwards, miles away from the shrouded, shy figure we met nearly a decade ago. “If it feels like a home, power on,” he repeats, encouraging others to grasp any opportunity to move forwards and onwards, completely changing his placing as an artist in the process. Where James Blake can go now is limitless” – DIY

Standout Cut: Can’t Believe the Way We Flow    

Download/Stream: Assume Form/Are You in Love?/Don’t Miss It

Steve Mason – About the Light

Release Date: 18th January, 2019

Label: Double Six Records

Order/Listen: https://open.spotify.com/album/1IOnfFfswEAQzFbfUI68XE?si=hkKs9TguSFmIINx5N_NHbw

Review:

“The most immediate thing about ‘About the Light’ is that all the songs have massive choruses - nothing new considering Mason’s back catalogue - but it’s the level of catchiness that’s the surprising, and surpassing, thing.

Standout track ‘No Clue’ is classic Mason with swirling guitars and massive hooks. There is a playful bounce to it, meaning this should go off when played live.

‘About the Light’ separates Mason from that current glut of nostalgia acts trying to cash in on their past. Mason has always followed his own path, and we’re better for it” – CLASH

Standout Cut: Walking Away from Love

Download/Stream: America Is Your Boyfriend/About the Light/Stars Around My Heart

Blood Red Shoes – Get Tragic

Release Date: 25th January, 2019

Label: Jazz Like

Order/Listen: https://open.spotify.com/album/04Z8mAFmRcsijATnu4t5DM?si=_2t_-_CLT4OGo6C3OtRsww

Review:

“Honourable mentions - ‘Anxiety’, which comes after an Interlude in which the subject matter of the album moves away from the LA scene – that manages to both educate and encapsulate the feeling of being anxious whilst being a fuckin’ banger (“Honestly/I could take a chance but it terrifies me”). ‘Howl’ – “I’ll be waiting on my own, I’ll be waiting dog and bone”. ‘Elijah’ - “I heard you fucked up again Elijah/one day you’re up then you’re down/in this old town” – we all know a fucking Elijah. FUCKING ELIJAH.

In short – someone very dear to me once told me that artists are artists because they can convey in words what others can’t; and that that’s what makes them beloved, and beautiful. It would have been so easy for Blood Red Shoes to part ways as enemies, to never speak again, to start solo careers and guest on documentaries about band rivalries and sure, they would have been okay – but instead, they flourished. They gravitated back together. They healed, they argued, they made music about it and to use an LA phrase - ain’t we lucky they did so” – Drowned in Sound

Standout Cut: Eye to Eye                              

Download/Stream: Mexican Dress/Howl/Anxiety

Julia Jacklin – Crushing

Release Date: 22nd February, 2019

Label: Liberation Records

Order/Listen: https://www.roughtrade.com/gb/music/julia-jacklin

Review:

“Fragile, acoustic solo songs like "When the Family Flies In" and "Convention" are contrasted by full-band arrangements, including the defiant, alt-country-tinged "You Were Right" and the rollicking but highly stressed "Pressure to Party." The final song, "Comfort," is a solo acoustic guitar tune that has Jacklin's quivering voice delivering a stream of affirmations beginning with "You'll be okay/You'll be all right/You'll get well soon/Sleep through the night…" before she reassures herself that her ex will be okay, too. It's this type of devastating emotional honesty -- one that admits both strength and weakness -- that, along with the performances, sets this record apart from others in its heavy-hearted category” – AllMusic

Standout Cut: Pressure to Party                

Download/Stream: Head Alone/Convention/Comfort

Better Oblivion Community Center – Better Oblivion Community Center

Release Date: 24th January, 2019

Label: Dead Oceans

Order/Listen: https://open.spotify.com/album/5622zSt4RLqNSPShdqmWpj?si=0WzvV7zmRT2asna-WwmQEQ

Review:

“Bridgers has a knack for cultivating vocal collaborations. On Stranger In The Alps, John Doe added harmony on her calling card, “Killer,” and Oberst pitched in on “Would You Rather,” a haunting song about Bridgers and her little brother. More recently, she enlisted Jackson Browne on her cover of McCarthy Trenching’s “Christmas Song.” With boygenius, she’s found a harmony that’s more than the sum of its formidable parts.

As social media leaves us paradoxically more isolated than ever, the sound of voices literally finding strength together is a potent metaphor. “Big Black Hearts” locates a vaguely Bonnie-and-Clyde-ish communion in joyously ugly guitar noise, while “Dominos,” a song staggering into the thin light after an all-night bender, looks towards something less than hope, but preferable to numbness. “I’m car-pooling to kingdom come/Into the wild purgatory,” the pair sing in the wake of a gushing Nick Zinner guitar solo, clearly glad to have the company for the ride” – Rolling Stone

Standout Cut: Dylan Thomas

  

Download/Stream: Sleepwalkin’/Exception to the Rule/Big Black Heart

The Specials – Encore

Release Date: 1st February, 2019

Label: UMC (Universal Music Catalogue)

Order/Listen: https://open.spotify.com/album/2K7Z8kR4tsXDIkS0jWLkwZ?si=AyAJSlAwSVCpzswXceOjow

Review:

“And don’t go thinking the Tories get a free pass. ‘Vote For Me’ is a slinky ska takedown of the rule-makers protecting their own interests while “tearing our families apart”, and Fun Boy Three’s ‘The Lunatics (Have Taken Over The Asylum)’ is resurrected from 1982, a song whose time couldn’t get more now. The mildly unhinged circus spin of ‘Breaking Point’ even manages to capture our current, social media-driven sense of desperation, confusion and frustration as we hurtle inexorably towards riot and revolution: “with the help of God and a few Marines we’ll blow this place to smithereens”, Hall sings, presumably with one ear to the door of May’s no-deal planning committee.

The album ends on a similarly optimistic, but far more realistic, note than it began. “Looked all around the world, could be a beautiful place,” Hall decides on deserted ballroom ballad ‘We Sell Hope’, but acknowledges that the best we can do on a planet run by madmen is to be the sanity you want to see in the world: “do what you need to do without making others suffer”. We need right-thinking rebel records like ‘Encore’ now more than ever” – NME

Standout Cut: Vote for Me                          

   

Download/Stream: The Lunatics/10 Commandments/We Sell Hope

Boy Harsher – Careful

Release Date: 1st February, 2019

Label: Nude Club

Order/Listen: https://open.spotify.com/album/6G1kayusfMD3mcRXtPty2k?si=LcJer8fATpa_9bIbR1pwkw

Review:

“On ‘Come Closer’ there is no space to hide anymore, as Matthews’ repeated urge for proximity intensifies alongside the pounding drums. Between instrumentals tracks with Lynchian flairs, ‘Tears’’s lived-in lyrics project this inner-sense of brokenness, now ready to be danced to as a way of reflection and acceptance.

Their innocence might be gone, and their sound might be polished, but Boy Harsher have kept the foundations and the loyalty to each other to push through the storm. With Careful, they are no longer the best-kept secret among the dingier crowds, but their music, passion and on-going commitment have placed them close to a league of their own, hopefully lasting throughout the years to come” – The 405

Standout Cut: Come Closer                          

        

Download/Stream: Face the Fire/LA/Crush

The Twilight Sad – It Won/t Be Like This All the Time

Release Date: 18th January, 2019

Producer: Andy Macfarlane

Order/Listen: https://open.spotify.com/album/6yeitgWpug7poDRRMPRb2i?si=KI44aVPkT32mTM_opF88bg

Review:

“Newly-minted full members Brendan Smith and Johnny Docherty contributed to the writing process, adding new depth along the way. The decision to sparingly nibble at the vocal parts with digital manipulation feels vital, re-integrating singer and backdrop. ‘Keep It All To Myself’ finds them totally in sync, Graham sitting in the pocket of a big Novoselic bassline and rising with his bandmates as the music builds. Final track ‘Videograms’ pulls the opposite trick and thrives on tension without resolution, imperceptibly coiling itself around you with its beautiful Joy Division shiver.

This is a muscular collection, informed by Sad cheerleaders The Cure and Mogwai but also edging closer to Forget the Night Ahead and No One Can Ever Know; an avalanche of ideas and excitement built to carry multiple tours. The overriding sense is that this is how the band was always meant to sound. It’s a determined, seductive experience, brimming with belief and completely torching everything they’ve done before. As of now, The Twilight Sad are basically untouchable” – Drowned in Sound

Standout Cut: VTr

  

Download/Stream: Shooting Dennis Hopper Shooting/Keep It All to Myself/Videograms

INTERVIEW: Callaghan Belle

INTERVIEW:

Callaghan Belle

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THANKS to the terrific Callaghan Belle...

for telling me about her recent single, Dear Detroit, and what it is about. I ask her about her base of Detroit and how she views the music of the present and the icons of the past; whether there are particular records that have inspired her and whether there is more material coming along.

The young songwriter discusses artists she counts as idols; who she’d support on tour if she had the chance; whether there is any advice she’d give to rising artists – she picks an excellent song to end things on.

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Hi, Callaghan Belle. How are you? How has your week been?

Thank you so much for having me! My week has been chaotic and exciting. I’ve been waiting to release music for a long time.

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

Yes, of course. I’m a songwriter and musician from Detroit but I currently live in Los Angeles. I’ve been working behind the scenes as a songwriter for a few years - but now I’m finally releasing material as an artist.

When did music arrive in your life? Did you discover it young?

It’s funny...I can’t remember a time before music and I don’t know why it started. When I was really young, I’d write a couple songs every day. At some point, my mom realized I had about ten notebooks full of lyrics. From there, my parents were supportive. I didn’t realize there was anything unusual about a little kid writing music: I thought everyone was doing it.

Which artists do you count as role models and inspirations?

So many. My current list includes The Beatles, Lana Del Rey; Kelly Clarkson, JoJo; The Pretty Reckless, Troye Sivan; Dolly Parton, Led Zeppelin; Aly & AJ…I could go on.

Dear Detroit is your new single. Can you reveal the story behind it?

I wrote Dear Detroit after a meeting at The Beverly Hills Hotel where I’d been told that my music needed to be “more about guns” and conflict. It was ignorant advice coming from people in such a privileged environment. But it inspired me to write about the internal battle that takes place when you move away from home. This is a song about feeling homesick for a sense of belonging, whether that stems from a person, a place; an emotion etc.

Thinking about Detroit, do you have any thoughts regarding the changing sound of the city and your favourite Detroit icons?

Wow, great question. My fascination with Detroit icons started very young - Anita Baker is actually my godmother. So, I grew up around one of the most soulful voices in history. I think it’s incredible that Motown, Bob Seger; Eminem etc. all come from the same city. To me, that says so much about Detroit and its depth.

What is Detroit like for a young songwriter? Is its slight inner-city regeneration a positive sign?

I’ve lived in Los Angeles for almost three years now so I’m kind of ‘the outsider’ who shouldn’t comment on the state of the city. But, when I was growing up, I was pretty isolated as a songwriter. Right before I moved, some friends of mine bought a church in Corktown and turned it into a recording studio. The goal was to create a collaborative place for musicians to meet and work. Now it’s this full community of artists and songwriters and it’s absolutely beautiful. Progress like that contributes so much to positive regeneration. 

Do you feel like there might be even more material coming later in the year?

Yes! It’s crazy to admit this but my first album has actually been done for two years now. People kept telling me to wait to release it and I listened for some reason. Now, people are asking why I still want to release it. You just can’t win. (Laughs). But, Sovereign is my baby. So, it’ll be out later this year. I’m also releasing a song called Paranoia on February 22.

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

My favourite memory is probably working with JoJo. It was one of those moments where I had to be professional but my inner ten-year-old was absolutely freaking out. She’s the reason I started singing, so working with her and listening to her sing my lyrics was just surreal.

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

In no particular order:

Breakaway – Kelly Clarkson

I learned to sing from this album! When I was eight-years-old, I would sing along to Since U Been Gone at the top of my lungs during every car ride with my mom. Kelly has been my vocal inspiration for as long as I can remember.

Born to Die - Lana Del Rey

This album changed my entire approach to songwriting. Lana sings poetry. Her music showed me that you can paint a story and create an entire persona through your lyrics.

Beatles for Sale - The Beatles

This album just brings me back to my childhood. I was raised on The Beatles.

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

I’d love to tour with any powerhouse female artist. Kelly Clarkson, Ariana Grande; Kelsea Ballerini -I’ll go any genre. That’s the goal. Are we talking dressing room rider? I’m pretty low-maintenance. I’d probably ask for a piano and a jar of peanut butter. (Laughs).

What advice would you give to new artists coming through?

Ugh. I’m a new artist coming through! (Laughs). I don’t feel entitled enough to give advice yet. But, I guess I’d say just do your thing. You will get so much unsolicited advice about your sound, your look and your choices. At some point, it will overwhelm you. Take it all with a grain of salt and follow your instincts. You don’t want to launch a career on a song you only half believe in. Do your thing.

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

I’ve wanted to tour since I was a little girl. So, yes, hopefully sooner rather than later.

 IN THIS PHOTO: Sasha Sloan

Are there any new artists you recommend we check out?

Some new artists I’ve been listening to lately are Sasha Sloan, Alec Benjamin; Bahari, Lennon Stella… I could go on.

 IN THIS PHOTO: Lennon Stella

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

I actually go to school in my free time: I’m majoring in political science. So, after a day in the studio, I come home and read about political theories. (Laughs). It definitely doesn’t help me unwind. But, I think the key to not burning out is achieving balance. So, on an ideal chill day, I’m completely unplanned. I’ll spend time with my friends. I love road trips. I love traveling. Going to the beach, hiking; playing the piano. Being spontaneous and creative is key.

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).

There’s a song called Janey by Foy Vance. It’s a few years old but it’s helped me repeatedly pull through heartbreak and grief. I’m sharing just in case anybody needs to hear it right now

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Follow Callaghan Belle

Official:

http://callaghanbelle.com/

Twitter:

https://twitter.com/CallaghanBelle

Facebook:

https://www.facebook.com/CallaghanBelle

Instagram:

https://www.instagram.com/CallaghanBelle/

Spotify:

https://open.spotify.com/artist/2n3zopAHI1JkSajulq9u2D?si=owNPPAdETBuI5E4TCCCzzw

YouTube:

https://www.youtube.com/CallaghanBelle

INTERVIEW: Shayfer James

INTERVIEW:

PHOTO CREDIT: Acid Test Photography  

Shayfer James

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WITH an E.P. out in the world...

I have been speaking with Shayfer James about Hope and a Hand Grenade and the latest track, Mercy Down. James talks about music arriving in his life and which three albums are most important to him – he recommends some rising artists to check out.

I ask what his home of New Jersey is like in terms of music and whether there will be tour dates; whether he feels it is important to put spirit and uplift into his music – the musician picks a great live track to end the interview with.

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

Been a damn fine week, thank you. In fact, the highest-streaming week on Spotify I’ve ever had, so that’s exciting news!

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

Certainly. I’m a singer-songwriter, performer and film composer from New Jersey, U.S.A.

Hope and a Hand Grenade is your new E.P. Can you reveal what sort of themes inspired the songs?

The general theme was that hope really cannot exist without hopelessness; that we can’t expect things to be good or positive all the time. Life is an endless, beautiful; wonderful and perpetually more fascinating cycle of creation and destruction.

Mercy Down is the latest video released. What was the reason for the concept behind the video? Do you get much say regarding direction etc.?

I came up with the concept and directed it myself - though the D.P. Christopher M. Elassad had a huge hand in bringing the shot footage concept to life. I couldn’t have done it without him. The editor, Chris Wronka, was super-patient with me as I found more and more stock footage to help get my point across. I’ll leave the reason for it up to the watcher to decide (smiles).

Even though there are some dark tones in your music, you like to create a sense of uplift. Do you feel it is important to challenge the listener?

I think, even in everyday conversation, we either overthink or don’t think enough about how our ethics inform our social performance. I don’t know if it is important to challenge listeners but I do think it’s important to balance truth and rhetoric to tell a story in a way that is truthful but also entertaining.

PHOTO CREDIT: Luz Maxine Nienow Castelazo

When did music arrive in your life? Did you discover it young?

Indeed. A pretty terrible accident almost took two of my fingers when I was very young. My mother nursed my hand back to health on the piano, so I’d say it discovered me thanks to her.

New Jersey is where you are from. How inspiring is the music around you and the history of Jersey?

New Jersey has an amazing history in every way, including musically. I mean, Frank Sinatra, The Four Seasons; The Misfits, Sugarhill Gang and Bruce Springsteen? It wasn’t just because I was from N.J. that I listened to these artists: they were all iconic and a big part of the music I was raised on.

PHOTO CREDIT: Cyrience Creative Studios

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

I think my favorite memories are always built around letting go a bit more. Trusting the talents and decisions of other artists I work with. Micromanaging is fuc*ing exhausting and it’s amazing to be surrounded by talented people who make it totally unnecessary.

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

Nat King Cole - Nat King Cole at the Piano

My favorite singer of all time in his perfect element.

Sam Cooke - Live at the Harlem Square Club, 1963

Raw, unchained genius. His energy is palatable. So amazing.

Robert Plant and Alison Krauss - Raising Sand

I love T. Bone Burnett’s production on this album and hearing these two legendary singers take on familiar songs in truly unique way makes me so happy. I love falling asleep to this album.

PHOTO CREDIT: Acid Test Photography/Joe Velez

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

That’s a tough one! I think I’d want to open for Elvis Costello, Fiona Apple or David Byrne - each for different but equally exciting reasons. My rider would be really simple: a bottle of Bluecoat Gin and some chocolate-covered pretzels with sea salt.

What advice would you give to new artists coming through?

Keep going. It’s a marathon, not a sprint. 

PHOTO CREDIT: Acid Test Photography/Joe Velez

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

I’m trying to be really strategic with touring. I’m watching my Spotify numbers and, as listenership increases, I start looking for good clubs and fans that can help me promote in the area. Right now, I’ve got my eyes on Chicago, Seattle; San Antonio and Los Angeles. It isn’t really necessary to get in the van anymore. I go where I know I can make my fans, the promoters and myself happy.

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

Would absolutely love to perform in the U.K.! I monitor regional streaming closely and will certainly plan a trip when the demand is there.

 IN THIS PHOTO: Brian Lawlor

Are there any new artists you recommend we check out?

I have the pleasure of occasionally playing music with a total genius named Brian Lawlor. He’s a level of composer and keyboard player that is just astounding and humbling to me; exists as comfortably inside the box as he does outside of it. He’s playing keys with me at the E.P. release show in N.Y.C. on March 8th (at Rockwood Music Hall).

Really excited about that! I also really dig Coyle Girelli’s Love Kills record. It’s great throwback songwriting with a more polished modern production vibe.

 IN THIS PHOTO: Coyle Girelli

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

I enjoy silence a lot of the time I’m not creating. Silence is where all the good sh*t happens. I’m also really enjoying my NES Classic.

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

I’d love if you played Bring It on Home to Me from Sam Cooke - Live at the Harlem Square Club, 1963

___________

Follow Shayfer James

PHOTO CREDIT: Luz Maxine Nienow Castelazo  

Official:

https://www.shayferjames.com/home

Twitter:

https://twitter.com/shayferjames

Facebook:

https://www.facebook.com/shayferjamesmusic

Instagram:

https://www.instagram.com/Shayferjamesmusic

Spotify:

https://open.spotify.com/artist/0PftqT3Gvj1IszkeRLHK9G?si=XPWC8dmfQXekyIuXebZaGA

YouTube:

https://www.youtube.com/channel/UCJ6E7o_x6PqtgwWS16kUUaQ

Bandcamp:

https://shayferjames.bandcamp.com/

FEATURE: Minor Evolution But No Huge Surprises: Why We Need an Alternative to the BRIT Awards’ Tired Look and Lack of Real Progress

FEATURE:

 

 

Minor Evolution But No Huge Surprises

IN THIS PHOTO: The Carters (Beyoncé and Jay-Z) won for Best International Group and, despite adding much-needed racial and gender equality to the BRIT Awards, they were an exception and not the rule/PHOTO CREDIT: Getty Images/Press

Why We Need an Alternative to the BRIT Awards’ Tired Look and Lack of Real Progress

__________

I do not normally watch the BRIT Awards...

but I did flick over to it and watched a few of the prizes being handed out. I still think music award ceremonies have potential and promise but, to me, we concentrate too wholly on the BRITs. Right from the red carpet, everyone was talking about who was wearing what and who was standing out. There was definitely glitz and glamour on display but, when the night truly began, it was a story of the same old thing. Presenter Jack Whitehall was back again – after presenting successfully last year – and, whilst he did deliver some good gags, there were some awkward moments and uneasy exchanges. He was pretty good but I did feel like his parts were more memorable than a lot of the speeches on the night. Little Mix performed Woman Like Me and were subjected to some inappropriate jokes from Whitehall – commenting on their attire and descending into crude, sexist territory. A few of Whitehall’s gags were mistimed and misjudged - and I felt he was a bit unnecessary regarding Little Mix. The group’s performance was highly energetic and well-choreographed but, as noted, it was mimed. I do wonder why the BRIT Awards allow miming on a night that is celebrating the best artists around. It would not have been too hard to sing and dance live so that was confusing. Jess Glynne performed alongside H.E.R. and delivered her (Glynne’s) hit, Thursday.

George Ezra was entertaining and popular on the night whereas Jorja Smith provided a sparkling and memorable performance. There were few genuine standout performances on the night and it seemed like a case of being very similar to previous years. Even though there was a lot of cheese and some stilted performances, P!nk’s medley/performance was noted. The Guardian provided this review:

“Starting in her dressing gown in her dressing room – very much part of her #relatable image – she kicks off with Walk Me Home and is swiftly hoisted into a costume that looks like Big Bird in the climactic scene of Carrie. Up she goes into the heavens, with the flamethrowers from Kanye’s 2015 performance earning back some of their value for Just Like Fire – a highlight of late-period Pink, thanks to its vocal leaps as vertiginous as her drop to the arena floor. Then it’s into Just Give Me A Reason, in some ways her most melodically satisfying song; Nate Ruess’s part is done (very capably) by Dan from Bastille in the most quintessentially Brit awards moment of this year’s Brit awards. The medley klaxon has been well and truly sounded.

Another recent Brits cliche – projection mapping – is deployed for an upbeat take on Try before a change into a newsprint-covered mac for What About Us. It remains an utterly shameless ripoff of Coldplay’s Sky Full of Stars, but remains just as cheesily satisfying. She and her dancers finish by holding lights in a gesture of solidarity for … what? Well, it doesn’t matter. Sometimes pop just needs to be uplifting”.

There were, I guess, a couple of good performances but nothing that will stick in the mind and be remembered! I wonder what happened to the days when there was a bit of fire and some controversy. Maybe it is indicative of the acts being nominated but it felt very safe and routine. Aside from a few great performances there was nothing on the night that was particularly great. I am not saying we need to see fights and explosions but there was a lack of guts and real punch. Look at all the performances on the night and the feel is still very much the Pop market. The 1975 performed too and, whilst they delivered a great acceptance speech when taking to the stage (more on that later), they are not a million miles from other performances. When it came to the actual awards itself, there was one already-decided winner: Sam Fender won the Critics’ Choice award and, when interviewed by Whitehall and others, he seemed chuffed if a little bored. I think Fender will go a long way and it would have been nice to see him take to the stage and perform more – deliver something a bit grittier and with greater edge. The performances, from Hugh Jackman’s opener to P!nk’s medley seemed rather safe and commercial. There were some shock winners last night but, largely, it was as expected. Tom Walker won the British Breakthrough Act which, granted, was not on the cards…

 IN THIS PHOTO: Tom Walker was the (unexpected) winner of the British Breakthrough award/PHOTO CREDIT: Getty Images

Nominees Jorja Smith and IDLES were tipped and, to be fair, many expected IDLES to win. Maybe the fact IDLES have produced two albums meant they are not instantly seen as new and ‘breakthrough’. In terms of quality and impact, IDLES have delivered more and were far worthier of the award. Walker is very BRITs-sounding and appropriate (husky George Ezra-like tones and a nice beard) but there is nothing about his music that is different or hugely impressive. Look down the list of the so-called best British singles and it is your usual Pop fare – from Jess Glynne and Anne-Marie through to George Ezra and Tom Walker. Dua Lipa won, as many predicted, for One Kiss (with Calvin Harris) but I did look at the nominees and ask whether it is as diverse and quality-filled as it could be. The Grammys, this year, was noted for putting more focus on genres like Hip-Hop and equalling the playing field regarding female nominees. The BRIT Awards have always been more Pop-leaning and many noted how this year was a bit different. Looking at the winners and not a lot changed at all. The Best British Album category sported a bit more artistic integrity and genuine quality – Florence + the Machine’s High as Hope and Jorja Smith’s Lost & Found were in there – but the Pop album, A Brief Inquiry into Online Relationships won.

The 1975 were the big winners last night but I feel their latest album denied stronger records the prize. In my mind, the only category that truly got things right was Best Female Solo Artist: Jorja Smith walked away with it and she deserved it too! I feel she is a breath of fresh air so I am glad she was recognised. The mega-popular Ariana Grande won the International Female Solo Artist award and that did not shock me. Again, it went to an artist who is very Pop-orientated. Grande’s music is popular and has its market but fellow nominees Christine and the Queens and Cardi B, in my mind, are stronger and far more deserving. If the nominees were broader than years past then the winners definitely were not. Ed Sheeran won the Global Success award – a bit of a pointless honour – and The 1975 won British Group. Many were tipping Little Mix to win but, with Arctic Monkeys nominated, I was surprised it went the way of The 1975. I know the band is more than simple Pop but they are not breaking the mould. George Ezra won for British Male Solo Artist (beating the more diverse and interesting Giggs and Aphex Twin) and Drake won International Male Solo Artist – he was expected to win but his brand of Hip-Hop/Rap is a lot safer and more commercial than fellow nominee Eminem; the music not as dynamic and engaging as another nominee, Kamasi Washington.

Congratulations to the winner of Mastercard British Album of the Year 2019 – @the1975 for 'A Brief Inquiry into Online Relationships' 👏 #BRITs #StartSomethingPriceless pic.twitter.com/O6dMj59jWI

— MastercardUK (@MastercardUK) February 20, 2019

I always think the BRIT Awards could afford one or two other categories as, compared to the Grammys, they are very short indeed. Maybe we do not need the same sort of depth but, looking at the winners, and one wonders where the diversity is. There was greater balance regarding gender if not race but, in terms of genre, it was a Pop triumph. The Grammys have specialist categories for genres like Hip-Hop and Country and, if one were to assess British music based on the BRITs then you’d think it was mostly top-forty Pop and the occasional credible slice of R&B! The Carters (Beyonce and Jay-Z) won the International Group award (not a strong line-up this year!) and I think it was a good call. In their acceptance speech, we saw a portrait of Meghan Markle dressed in a crown. There was social commentary and humour and, looking pretty cool, The Carters were the most diverse winners on the night. The 1975 talked about gender inequality and sexual abuse in music and, whilst some social media commentators were confused regarding the speech’s messages and cohesiveness, many congratulated The 1975’s Matt Healy. Very few winners had anything important to say and stuck with the same platitudes and generic thanks – what you might expect, I guess! In another year free from fireworks and any real memorability, The 1975 did provide some much-needed awareness.

It is rare to see a male artist/act calling out their peers and it was good to see an act use the time on the stage to deliver a speech genuinely stirring and important. There was some swagger and sway on the night – Sam Smith was especially diva-like and strutted on; a lot of the nominees looked great and turned heads – but 2019’s BRIT Awards will not go down in history. We were promised a bit more diversity and variation but, when the gongs were handed out, there was not a lot of change. I think the Grammys have some work to do – they snubbed Rap and artists such as Kendrick Lamar refused to attend – but there was a feeling that, this year, things were sort of moving forward. In any case, one can look at America’s biggest music awards and see some range and interesting inclusions. Here, we still have this mainstream fixation and not enough genuine music on display. A lot of the winners are either highly processed in the studio or they are what one would expect of a Pop act: singing other people’s words and singing, roughly, the same thing. If gender empowerment and equality was a theme then musical diversity and outstanding sounds was definitely not a huge consideration. Even though two-thirds of the winners were men, one feels there is a slow movement towards a more balanced playing field.

Calvin Harris won a producing award and many were surprised to hear him speak – assuming he was American and not realising he was Scottish! Maybe that is systematic of a certain naivety and thickness but maybe you can forgive the people. The biggest impression of this year’s BRITs was of a slightly dull and predictable night. There were few shock winners and, if you had to be honest, can we see much improvement and development over the past five years or so?! In fact, many felt Jack Whitehall’s compere duties saved the night from being a true write-off. The Telegraph had this to say on the subject:

“The pop industry’s 39th annual back-slapping session came live from the soulless aircraft hangar that is London’s O2 Arena, hosted for the second year running by comedian Jack Whitehall. An ideal fit for this gig, Whitehall struck the perfect balance between slick compering and caustic wit. He showed up Joanna Lumley’s BAFTAs turn for just how shoddy it was.

“Meanwhile, host Whitehall stole the show from under all the musicians’ noses. As ever, his plummy public school tones contrasted neatly with the near-the-knuckle nature of his material. His opening skit riffed on last year’s disastrous Fyre Festival, about which there have been two recent documentaries. It was a niche reference but one tailor-made for the pop demographic.

Whitehall later broadened his material to include us oldies with a pair of Brexit gags, including: “Westlife announced they were back in the studio. Suddenly a hard border with Ireland doesn’t sound so bad”.

 IN THIS PHOTO: Let’s Eat Grandma would have added genuine alternative spirit to the BRIT Awards (and their 2018 album, I’m All Ears, would have been a worthy prize-winner)/PHOTO CREDIT: Jenn Five

I do think there is a place for music award shows and they are not, as many assume, pointless and outdated. I feel artists need recognition and (award shows) are a way of guiding people to music they might not be aware of or was not reported in the mainstream press. We have the Mercury Prize but, like so many awards, this has been accused of bias and being too restrictive. It is hard to get the balance right but I think the BRIT Awards is a rather mediocre and tired affair. Maybe we do need to be rid of it but we need to accept that British music is much more than Pop and men. The Grammys has its issues – too many categories and issues regarding race – but they are starting to make improvements and recognise multiple genres whereas our equivalent is still stuck in second gear. If we are to have a big annual music award show (which we should) then there needs to be consideration regarding what defines British music and how tastes are changing. For people like me – who listens to BBC Radio 6 Music and knows there is more to music than Pop – there is not a lot on the bill that speaks to me and defines British music. It is true a lot of last year’s best albums were from American acts but think about IDLES, Let’s Eat Grandma; Shame, Young Fathers and Sons of Kemit and you have some great and fascinating acts that did not get a nod.

It is difficult to please everyone but I look at the BRIT Awards and see a genuine lack of evolution and credibility. Aside from a few good winners – such as Jorja Smith – there was a surfeit of great artists winning; virtually no guitar music and a very white and Pop-based board. There are great British albums, songs and artists coming through every year and I do not think they are being represented fairly. Some artists, such as Christine and the Queens, stated how women were ruling this year and the tide was turning. Maybe there is a slight narrowing of the gap but we cannot say there is genuine equality and, again, more men walked away with awards than women – can we say women dominated this year when you consider the realities?! The same can be said of racial balance. Whilst there are more black nominees than previous years, there were still more white winners – even if black artists like Jorja Smith and The Carters helped shift the imbalance. I think there is the potential to create a balanced, fair and quality-laden music award show without dragging on endlessly and having the same issues as the BRITs and Grammys. For those who call music award shows pointless in a digital age, I wonder why they feel this. It is important we recognise outstanding work in music and it would be rather depressing if we just let people release music and leave it at that.

 IN THIS PHOTO: Anne-Marie was nominated for four BRIT awards (including Best Single for 2002) but walked away empty-handed/PHOTO CREDIT: Getty Images

If we are to move forward and create a genuinely equal and proud ceremony (that highlights the true best of British) then we need to address the BRITs’ small steps and speed up change. Laura Snapes, writing in The Guardian, focused on the problems still inherent:

“These iconoclastic displays put the night’s other putatively political action in stark contrast: Jess Glynne’s earnest performance of her song Thursday – in which she along with 70 influencers and models removed their makeup on stage – felt try-hard. The presence of a branded microfibre makeup removal cloth, easily identifiable to many women, made the display about a woman’s worth not being tied to her appearance appear inextricable from the market forces that sell women the messages that sustain a culture of insecurity. (I give it a few hours before a press release for the cloth appears in my inbox.)

A BBC report published this week showed the decline of hit songs credited solely to female artists. Harris and Lipa encouragingly shared top billing and songwriting credit on their winning single One Kiss (though she thanked him for letting her appear), but many of the night’s nominated songs found female artists billed as featured artists to male producers – as well as primarily male production and songwriting teams...

IMAGE CREDIT: @BRITs  

“As women, we get moulded in to something that we don’t necessarily want to be,” singer Mabel told the BBC. And in the on-off 27-year history of the best producer prize, Kate Bush and Alison Goldfrapp are the only female nominees in an area where women remain dramatically underrepresented, illustrating the paucity of opportunity for women attempting to break in and of recognition for those who have done so. (Obviously, no woman has ever won this category.) Letting female talent flourish – and setting aside the “genius male producer” archetype – could be the first step to British pop breaking borders again”.

Change and improvement can happen but it requires action and awareness from the BRIT judges and organisers. If we can correct the gender and racial imbalance and ensure there is no such an insular reliance on Pop then I feel British music can really shine. We know how many great British albums and artists there and we need to show them off to the world! Maybe it is too hard to please everyone but I’d like to think that, with a little affirmative action and progress, we can turn the BRIT Awards into something genuinely...

IN THIS PHOTO: Critics’ Choice award-winner Sam Fender offers hope that future BRIT ceremonies might nod to more eclectic artists who stray from the Pop mainstream/PHOTO CREDIT: Getty Images

WORTHY and diverse.

FEATURE: The Battle of the Budget Supermarkets: Are Fat White Family and Sleaford Mods’ Critiques of Their Rivals All That Smart?

FEATURE:

 

 

The Battle of the Budget Supermarkets

IN THIS PHOTO: Fat White Family/PHOTO CREDIT: Roger Sargent/NME 

Are Fat White Family and Sleaford Mods’ Critiques of Their Rivals All That Smart?

__________

I know the South London band Fat White Family...

are not the only ones to be culpable of some rash and unnecessary words but, as their criticism seems to be the most alarming and needless, I will start with them. I am pleased there are bands like them around right now. They have a desire to highlight change and expose the realities of British society. There are a lot of bands who are writing in a very aware and reactive way. The country is going through the doldrums and, away from the placid and safe Pop artists, it is good to discover something a lot more rewarding, deep and important. I think music should have an element of escapism but it needs to be truthful and carry some weight. I do think, for years, bands have strayed away from addressing politics and society – I do wonder why this is. We have a few bands that are tackling everything from depression and mental-health issues to political divisions and the struggles of the street. Fat White Family are not new when it comes to flapping their chins in the general direction of controversy and insult. Back in January 2017, the band got themselves ‘noticed’ because of comments made towards Slaves. NME covered the news at the time but, essentially,

“Fat White Family have questioned why Slaves have been given part of a £250,000 government music grant.

UK music industry trade association, the BPI has announced the recipients of this year’s Music Exports Growth Scheme grant. The annual grant is awarded to British artists to allow them to tour and promote their music overseas...

IN THIS PHOTO: Slaves/PHOTO CREDIT: Andy Hughes/NME

Responding to the news that Slaves will receive around £12k from the grant, Fat White Family took to Facebook to write: “Why does a band that has been on a major label (Virgin/EMI) for three years need a grant explicitly designed to support artists trying to break through on independent labels?”

In this case, Fat White Family got their facts wrong and it seemed like they were having a go without really knowing the truths and details. Too Many Blogs reacted to the news:

“A band who are reasonably well known for spouting their lots of opinions, unwanted or otherwise, is Fat White Family. You know, those loveable scumbags who openly do too many drugs and go fucking mental on a regular basis? They’re currently attempting to traverse a very wobbly tightrope between balancing their anti-establishment identity and their successful, industry-aligned current situation where they hang out with millionaires. The struggle eh? Must be pretty tough. Fat Whites did certainly struggle to maintain industry and fan interest in the three-year interval between their 2013 debut album Champagne Holocaust and 2016’s Songs For Our Mothers, and when that gained less than fruitful reviews, what was left for the Brixton boys but becoming official trolls of the music industry”.

“Already, Fat Whites have mislead their sheep in describing this “explicitly designed” grant as one to help acts “break through on independent labels”. When in reality its purpose was to help artists with “overseas promotional touring and marketing”....

 

I’d like to immediately point out how important this is as it almost totally invalidates the rest of their short but succinct rant. Why are they trying to rile everyone up in a frenzy about something so inaccurate? To put the spotlight on independent artists that are so often fucked over by the corporate machine and help out the little guy? Perhaps. Or was it simply to deflect the unjustness of this cruel, cruel industry that’s done their careers and bank accounts so well onto Slaves so that no-one will notice? Seems more likely to me”.

I feel attacking Slaves for receiving a grant – along with other artists – was a cheap blow and, given the fact both bands are fairly similar regarding their sound and musical intention, there should have been support rather than judgement and scold. Now, as NME report again, Fat White Family are not done slagging other acts off:

“Fat White Family have thrown their hat into the ring on an ongoing feud between Sleaford Mods and IDLES.

In a Facebook post promoting their upcoming UK and Europe tour, the band wrote that they are “100% with Jason Williamson [of Sleaford Mods] on that band Idles.”

Part of the message reads: “the last thing our increasingly puritanical culture needs right now is a bunch of self neutering middle class boobs telling us to be nice to immigrants; you might call that art, I call it sententious pedantry.”

But then the band took aim at Sleaford Mods, writing: “That being said how long are Sleaford Mods going to keep banging on about shit wages and kebabs? There’s only two of them and they have NO BACKLINE!$$$$$$$$$$$$$££!!!!”

 

I like artists who can stir a bit of trouble and make music more interesting but, in the case of Fat White Family, they are very petulant and smack of professional jealousy. IDLES are a much more popular and strong act and are resonating because they are talking about subjects people want to hear. I have never heard IDLES come out and say they are middle-class and there is nothing to suggest they are. Regardless of their social upbringing, why would that matter or lack authenticity?! Can you only be convincing and connected to lyrics regarding immigration and poverty if you are working-class?! IDLES possess more venom, determination and passion than any of their contemporaries and you know they mean every word they say. Fat White Family pride themselves on being honest and having a degree of reality. They are probably a bit more aware and familiar with the strains of unemployment and the ‘real people’ but each band are working from the same page and should not be undermining the other. It is like low-value supermarkets - you can include Sam Fender and Shame in the list - offering accessibility to the masses but, to get ahead, attacking the others in the press; going out your way to poison and undermine the competition. IDLES are popular for a reason and they are no less aware of what it is to struggle than anyone else. Frontman Joe Talbot has lot a child and experienced the death of a parent and, for such a young man, that sort of pain is a lot more harsh and potent than anything Fat White Family have encountered.

 PHOTO CREDIT: @melissaaskew/Unsplash

I have nothing against Fat White Family and, in actuality, I think bands like them and IDLES should be forming coalition and bringing their songs together – the former attacking the latter is rather desperate, needless and petty. Fat White Family turning their gun on Sleaford Mods, again, is asking for trouble and it seems, in some way, they are trying to be the modern-day Oasis: putting down Blur and other 1990s bands because they are inferior and a bit crap. Fat White Family are nowhere near Oasis in terms of quality and coolness and, the fact their tour schedule is less busy and ambitious as IDLES means their words are rather shallow. If IDLES are these middle-class posers then how come they scored immense reviews with their first two albums and have incredible demand all around the world?! The Bristol band have really fooled the world and I wonder how long before they get rumbled and called out?! Of course IDLES are genuine and Sleaford Mods’ kebabs-and-low-wages songwriting is immensely popular. They also add humour and variation and their music covers multiple avenues. Sleaford Mods’ Jason Williamson, as this article shows, is not a fan of IDLES either!

“Sleaford Mods‘ frontman Jason Williamson has discussed his dislike for IDLES, accusing them of “appropriating a working class voice”.

The Nottingham duo have often attacked IDLES on Twitter, and now Williamson has revealed why in a fan Q&A on The Guardian...

 

Asked about “the beef”, Williamson said that he was a fan of the band’s debut album – before taking issue with the lyrics to ‘Well Done’ and many of the causes that IDLES advocate when learning about their background.

“I quite liked ‘Brutalism’ when it came out. It wasn’t my kind of music but I liked some of it – it was catchy,” said Williamson. “And they were nice lads, polite online and stuff. But I thought they were kind of a street band, there were lines like ‘Tarquin’ that would insinuate that they were knocking the middle classes, but it turns out they’re not working class.”

“That offended me, because I then held the belief that they were appropriating, to a certain degree, a working class voice.”

“Music can’t solve political problems. And I think their take on it is cliched, patronising, insulting and mediocre. And that’s why I have a problem with them. I take music seriously, and I’ve come from a place where this music has been created. Without that, we wouldn’t be here”.

I do wonder how Williamson can call out IDLES betraying the working-class voice when he is giving a Q&A with The Guardian – not exactly aimed at the working-class, is it?! There is an irony seeing Williamson making such statements when there is no evidence to suggest his upbringing has been any harder than those of IDLES’! How does he know what they experience and why would he attack a band who are working in the same direction as them?!

 IMAGE CREDIT: Spotify

Does a band/artist have to experience what they are writing about to make it genuine and valid?! Do we only limit Punk music to the working-class?! Where is the proof IDLES are middle-class, as I say?! There is a lot of needless beef and pettiness coming from Fat White Family and Sleaford Mods. Slaves did not retaliate to Fat White Family a couple of years back and, now that IDLES have been scolded twice within a week but Sleaford Mods and Fat White Family, they are not taking to the press to slag off them – getting all crabby and undermining their music. I love Sleaford Mods and can believe they have experienced the daily reality of low wages and the sort of figures they write about. I am not convinced they are struggle as hard as many of their subjects because they (Sleaford Mods) are so popular and do have a bit of money. They are not living in council estates and having to subside on food banks. Fat White Family are not on the breadline and closer to the black than a lot of the people they write about. Maybe both bands have more humble backgrounds than IDLES but none of these bands can say they can truly emphasise with immigrants, the struggling and those who scrape by! In fact, when IDLES talked about toxic masculinity and mental-health issues – not subjects that have anything to do with class or earnings – they were coming from experience and were talking about it much more bravely than anyone else.

 PHOTO CREDIT: Roger Sargent for Rolling Stone

I find Sleaford Mods’ lyrics more limited and less powerful than IDLES. Fat White Family’s music is less explosive and memorable so it is a little rich for both acts to point a finger at their superior contemporaries. I am not a massive Slaves fan but they should not have to defend themselves and have to answer to Fat White Family. There are a lot more bands coming through that are talking about things important to a country that is divided and needs some guidance. Rather than snipe and throw shells at the others, all of these bands should do what they can to blame and highlight the politicians who are responsible for the mess. If you are concerned about the struggle of the working-class then is attacking a band the best way to solve the problem?! The point of the music from Fat White Family and Sleaford Mods is to open eyes, portray truth and keep things very real. Sniping at bands like IDLES is without provocation and does seem opportunistic. It is rather timely that Fat White Family have new music out now and Sleaford Mods’ fifth album, Eton Alive, is out on Friday. All of these criticisms seem like publicity-courting stunts and rather tacky. As much as Sleaford Mods and Fat White Family bite and chew, they will always be one step behind IDLES. I think Sleaford Mods are great and they have their own niche; they are very popular and loads of people love them.

What is the purpose and use of going after a successful and much-loved band like IDLES when they have done nothing to warrant that sort of thing?! IDLES are keeping dignified and, one suspects, do not really care whether bands like Fat White Family like them. As I say, IDLES are ruling the world and Joy as an Act of Resistance (2018) scored bigger reviews across the board than anything from Fat White Family and Sleaford Mods. Critics were not querying IDLES’ working-class ethics and whether they were posh posers looking to jump on a bandwagon! I have a lot of respect for bands/artists offering substance and value over something flash and commercial. The more we can get talking about subjects like unemployment and mental-health the better.

IN THIS PHOTO: IDLES/PHOTO CREDIT: Ebru Yildiz for Rolling Stone

The crassness and pointlessness of undermining those trying to do good is laughable and, when that criticism comes from a less-successful band then it has a whiff of jealousy! It would be good if bands like Fat White Family and Sleaford Mods corrected their heads and focused on their own paths. Fat White Family are no strangers to putting their foot in it and, the more they are in the press for attacking other bands the less respect they will get. They are, as I made clear, not Oasis – their music is not nearly strong enough to compensate for arrogance and bullish behaviour! As we all wonder where the U.K. is heading and want to make things better, let’s all work from the same hymn sheet and come together. I think these important bands – or the ‘budget supermarkets’ as I called them – are all doing great work and any derailing or side-swiping takes the focus from the music itself and leads to...

PHOTO CREDIT: Getty Images

NEEDLESS negativity.

FEATURE: I Second That Emotion: Smokey Robinson at Seventy-Nine: The Essential Playlist

FEATURE:

 

 

I Second That Emotion

IN THIS PHOTO: Smokey Robinson/PHOTO CREDIT: Getty Images 

Smokey Robinson at Seventy-Nine: The Essential Playlist

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THERE are few artists who are as iconic...

and tremendous as Smokey Robinson! In terms of songwriting, I cannot think of many who have penned so many great hits. Whether as a solo artist or part of The Miracles, the man is responsible for some of the most memorable songs ever. I first encountered Robinson as a child and tracks such as I Second That Emotion and The Tracks of My Tears (with The Miracles); Cruisin’ and Being with You (solo). It is hard to say which period of his life is the best in terms of material and power - but I would say his stuff with The Miracles just takes the edge. Maybe it is the combination of voices or the particular time period. In any case, Robinson has been crafting wonderful songs since 1955. It is amazing to think his work spans seven decades – let’s hope the man is not done singing and writing! It is incredible to think that a man who is so close to being eighty is still active in music. Robinson recently performed at the Grammys and, one suspects, will put out more material soon enough. It is those childhood memories and experiences that still resonate. I have fond memories of being driven to my aunt’s and hearing classic Smokey Robinson/Smokey Robinson & The Miracles tracks being played out. Yesterday was the man’s seventy-ninth birthday – I didn’t have time to publish anything then… – and many paid tribute to him.

 IN THIS PHOTO: Smokey Robinson & The Miracles/PHOTO CREDIT: REX

I do wonder whether anyone has enjoyed such a vast and successful songwriting career – apart from legends like Paul McCartney and Bob Dylan – and made such an impact! This feature from uDiscoverMusic talks about Robinson as a pioneer; how there was a song in his cannon for pretty much anyone!

“Don’t worry, we’re not going to repeat the Bob Dylan quote about Smokey Robinson. We know you are sick of it being trotted out at every opportunity, and if you don’t know it, it’s not hard to find. Smokey doesn’t need another songwriter to confirm his greatness. His work speaks for itself: he’s got the write stuff. Our job here is to chart a course through some of the musical miracles he created for Motown, whether written to perform himself or with The Miracles, or for other artists blessed by the gift of his songs.

Smokey Robinson was a pioneer. Many statements have been made to the effect that Motown’s artists began to wrest control of their careers at the start of the 70s by writing their own material, but Smokey began doing it in the late 50s. Every word, every melody he dreams up has soul, and there’s a Smokey song for everyone. What follows will give you a taste of his greatness...”

The start of his career was not as hot and successful as one would have expected.

The man, even at a young age, was churning out songs but, as the article continues, there was one tough critic who was only willing to accept the best from Robinson…

“Miracle of creation…

It’s said that Smokey Robinson wrote 100 songs before Berry Gordy, Motown’s boss, declared one to be worth recording. Chances are it was more than that, as Smokey, who was born on 19 February 1940, composed a song for a school play when he was seven, and from an early age he bought Hit Parader, a magazine which printed the lyrics of chart songs, to study them closely and decipher how they worked. In this instance, practice made perfect. On the advice of Gordy, who had written several hits for R&B star Jackie Wilson, Smokey began to think more about the structure in his songs and to give their stories continuity. By 1960, after a couple of well-received singles with The Miracles, Smokey’s first major writing success arrived with ʻShop Around’, which took parental love advice to No.2 in the US pop charts....

PHOTO CREDIT: Getty Images 

Things did change and, when he found that golden touch, the demand was overwhelming. Just like the biggest Motown artists of the time, Smokey Robinson was vastly popular and in no shortage of demand. He proved he was able to write in a variety of situations and convey a wide array of emotions:

“As was the way at Motown, Smokey Robinson found himself in great demand among the company’s other singers, all seeking a sprinkle of his songwriting stardust. Smokey returned to hard-headed love advice when writing ʻFirst I Look At The Purse’ for The Contours (1965). He was more romantic on ʻMy Guy’, a smash hit for Mary Wells (1964) and a song he answered himself with ʻMy Girl’ (1965), a mega-hit for both The Temptations and Otis Redding, and generously provided the Tempts with ʻThe Way You Do The Things You Do’, ʻIt’s Growing’, ʻGet Ready’ and an entire album’s worth of gems on The Temptations Sing Smokey.

Often considered masters of the ballad, thanks to the likes of the majestic ʻOoo Baby Baby’ (1965) and the heartbreaking ʻTracks Of My Tears’ (1965), The Miracles could also kick up a rumpus on tunes such as ʻGoing To A Go-Go’ (1965) and ʻThe Tears Of A Clown’ (1970). These songs are well remembered today, but Smokey and The Miracles’ brilliance still oozed from album tracks and B-sides. Songs which are heard far less today have remarkable depths. ʻSave Me’, the B-side of ʻGoing To A Go-Go’, opens like a twee ditty, with tidy piano and ticking bongo drums”.

 

The great Smokey Robinson is often considered – quite rightly – one of the greatest songwriters ever…but there were collaborators who helped bring these magical songs to life:

“Smokey did not usually write alone. Among his closest collaborators was Marv Tarplin, The Miracles’ guitarist, who broke a rare writing block for Smokey when the two wrote ʻCruisin’’ together. Additionally, various members of The Miracles contributed to many of the group’s hits, such as Pete Moore, Bobby Rogers and Ronald White. Motown house songwriter Al Cleveland co-created many late-60s wonders with Smokey, including the much-loved ʻI Second That Emotion’. ʻThe Tears Of A Clown’ was co-authored by another Motown giant, Stevie Wonder, with Wonder’s regular co-conspirator, Hank Cosby. And Motown boss Berry Gordy shaped and rewrote some of The Miracles’ earliest successes, including ʻShop Around’. Genius works with genius”.

 

A great feature on hotpress.com - published yesterday – revisited an interview Smokey Robinson conducted in 2007 (with the publication/website) where he talked about Motown and meeting The Beatles:

“But Smokey (William) Robinson will always be inextricably linked to Motown, arguably the greatest music label in the history of pop music. As songwriter, producer, performer, talent scout and later vice-president, he was at the very heart of the company that styled itself as “the sound of young America”. He was taken under the wing of Motown founder Berry Gordy and together they forged the unique sound that was Motown...

 PHOTO CREDIT: REX

“Man, I wish I’d known at the time we were making history, not just making music,” he laughs, down the phone line from LA. “We’d decided from very early on that we were not going to make black music, we were going to make music that everyone could enjoy. Time has proved that we did the right thing. It was quality music.”

He recalls his delight at hearing the early Beatles were big fans of Motown. “I had met them before they became popular and I liked them even then, so it was a joy to hear them do my song,” he says. “I still love that version and I’m glad I played some part in their careers”.

The dust has settled from the seventy-ninth birthday celebrations but the music will live on and, since the 1950s, the amazing Smokey Robinson has bewitched and inspired the world! I hope, genuinely, we get many more years of his gold – there will never be anyone like him in music. As I sign off and tip my hat to him, I think it is a good idea to end with the essential...

    

SMOKEY Robinson playlist.

INTERVIEW: SUMif

INTERVIEW:

SUMif

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THE fantastic SUMif has been telling me about...

her latest single, Obvious, and what its tale is. I wanted to discover which artists she grew up around and whether we might see more material coming along – SUMif reveals when music became her life and what life is like in San Francisco.

The U.S. songwriter chooses a few albums that are important to her; whether she will come to the U.K. and play; the artist she’d support given the chance and some rising musicians we need to follow – she chooses a cool track to end the interview with.

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

Fabulous! I just got back from a week skiing in Japan actually!

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

Sure thing. I’m SUMif. I’m based in San Francisco, California and I make Electro-Pop music. My main goal is to make you dance, or bob your head...or move at least a little. 

Obvious is your new track. What is the story behind the song?

Obvious is about the moment when I met someone who opened my eyes, who allowed me to see my truth clearly. At the time, I had been avoiding the reality of a certain situation but, all of a sudden, the answer was sitting in front of me in plain sight.  

Is there going to be more material coming along this year?

Always and forever will you be getting new material from me! But, yes, I have a little E.P. coming out very soon followed by many new singles and another E.P. 

Do you recall which artists you were listening to growing up?

Yes! Lots of The Beatles, Sheryl Crow and Mary Chapin Carpenter. Those are the distinct names I can remember my parents loving, so they were often plated at home or in the car. 

Was there a moment when you realised songwriting and music was your calling?

I wrote a song my senior year of high-school about a boy (lolz) I met who lived across the country. We met at a pre-college summer camp of sorts. I was crazy about him and wrote this poppy little song on my acoustic guitar and sang it for my school talent show.

Someway, somehow, my song ended up getting voted our class graduation song  the song they play when you throw your hats up in the air…in front of the three-thousand-plus people in the audience…usually a song like Green Day’s Good Riddance (Time of Your Life) or Vitamin C’s Graduation would win.

It was the first time in my life that others saw my art and especially my songwriting as something worth paying attention to. I used this song to audition to the music program at NYU and, when I got in, it further led me to believe in myself as a songwriter. 

You have become a San Francisco staple. How important is the area and the people?

S.F. is truly home. I could gush about the beauty of the Bay area for ages. I arrived in S.F. six years ago knowing essentially no one. I built a life there, one that I am so, so proud of. I am surrounded by the most fun brilliant excellent supportive people I could imagine there - they’re my family.

On top of that, I’ve able to build up my music project there and am a big fish in a little pond. In the Bay, they play me on the radio and I’m a go-to support act for smaller Pop acts that come through town. These are things that wouldn’t happen to me in L.A. where there are so many people trying to do exactly what I am.   

Do you have a standout memory from your time in music so far?

So, so many but, in this moment, I would say playing Pride on the main stage last summer. It was beyond my wildest hopes for the performance. The sun was shining; it was hot (very rare for S.F.) and there were somewhere between five-hundred and one-thousand people watching me but they weren’t just watching; they were jumping and singing and...it was everything. Playing at Pride and waving around a rainbow flag was really a true symbol of freedom for me and my journey with coming out and coming to terms with being gay. 

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

Odesza - In Return

Cinematic-Pop that makes me jump and pretend to bang on drums no matter where I am or what I’m doing. I’ve seen Odesza live over ten times – they truly embody my goal of making people want to move with my music. 

Tove Lo - Lady Wood

Tove Lo is an incredible songwriter, performer and artist. She is one of my biggest inspirations.   

Jack’s Mannequin - Everything in Transit

This album came out right around the time I got my first car, where it held a permanent position in the C.D. player. Each track was and still is Pop-Rock perfection in my book.     

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

Tove Lo. My rider would definitely have a ton of Harmless Harvest Coconut Water and RX bars. 

What advice would you give to new artists coming through?

Be authentic, be unapologetically yourself and don’t give up when it gets frustrating or hard - because it will be frustrating or hard most of the time. 

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

I sure hope so. Right now, just S.F. on March 1st for Noise Pop Festival.

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

Dying to! Help me make it happen?

 IN THIS PHOTO: Dagny/PHOTO CREDIT: Jonathan Vivaas Kise

Are there any new artists you recommend we check out?

I’m a HUGE Scandinavian Pop fanatic…and my faves right now are Dagny, Sigrid; LÉON and ALMA.

 IN THIS PHOTO: Sigrid

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

I travel quite a bit, so I essentially save up my ‘chill time’ and my spend time away from music while seeing new places. My greatest passion aside from music is exploring new places but, when I’m at home and living a normal week, I tell myself that, if I have time to watch T.V. or a movie, then I have time to work on music.

So, I try not to do many ‘wind down’ activates. I am working on reading more though! I am learning French and, while it’s not really unwinding, it is something completely different that I do enjoy. 

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).

Hmmm. SO hard to pick just one song. But, right now, let’s go with Flight Facilities – Clair de Lune. Thanks so much!

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Follow SUMif

Official:

https://www.sumifmusic.com/

Twitter:

https://twitter.com/SUMIFMUSIC

Facebook:

https://www.facebook.com/sumifmusic

Instagram:

https://www.instagram.com/sumifmusic/

Spotify:

https://open.spotify.com/artist/3o0KTphy4FM2GAJE3CxBmO?si=6DCNJDITSryZe4l4jLGGbA

SoundCloud:

https://soundcloud.com/sumifmusic

PHOTOS:

Kelly Mason

INTERVIEW: Rasha Jay

INTERVIEW:

Rasha Jay

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I am a little late putting this online...

PHOTO CREDIT: Jordan Tempro 

but I have been speaking with Rasha Jay about her new single, Red Coat. I ask what it concerns and what we can expect from her upcoming E.P., High Dive – Rasha Jay talks about breaking down boundaries and when music came into her life.

The songwriter discusses a few albums important to her; whether she has plans for this year and what it is like stepping into Blues – a genre dominated by men – and whether there are challenges – she picks a great song to end the interview with.

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Hi, Rasha Jay. How are you? How has your week been?

I am well, thank you. My week has been great!

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

I am Rasha Jay; a singer and songwriter from the U.S. in the Alternative/Blues genre, mostly. Blues, mainly, because of how my voice comes across, I suppose, and Alternative in how I write my songs.

Can you tell me when you got into music? Were there particular records or artists that inspired that passion?

My family tells me that I’ve been singing since I was two or three; a relative would teach me Gospel songs on the front porch. I don’t recall it but seems about right! I was deeply drawn to music early on, hearing melodies and singing all of the time. Prince’s Sign o’ the Times album sticks out for me - I think it was mainly a black cover. I recall opening the album and reading the lyrics and being fascinated with the grooves.  

 PHOTO CREDIT: @sayjor

You play in a Blues-Rock/Alt-Blues mould. It is traditionally populated by white men. Were there any hesitations stepping into that world?

No hesitations at all! It’s about storytelling and standing firm, singing your song. I have a song to sing and I rest on great shoulders; those unbridled voices I admire so much. I want to push it forward. I want to expand the story.

Do you think it is important that artists break down walls and barriers in order to bring about progression and evolution?

Yes, absolutely! I love the classic songs like everyone else but they’ve been done before. (And again and again as they should be). But, I’m more curious about what’s around the corner; what’s going to be a part of that lexicon that we can look back on in years to come? And, personally, am I pushing myself to seek new ways to convey my thoughts in song?

Red Coat is your new single. Is there a story behind it at all?

Red Coat is a song that I wrote, in part, years ago but it didn’t make my first E.P. It was something that always lingered around my mind, though. I sang the guitar riff all the time - it wouldn’t leave me. The song is about the murky, thick part of knowing yourself and how love can be abrasive. It’s also about how other’s behaviour can keep you from giving all that you have. To keep a part of yourself wrapped up is, I feel, perfectly fine and it happens within every relationship.

Can you reveal any details about your upcoming E.P., High Dive, and the sort of themes explored?

High Dive is a short journey about exploring different emotions, those that are conflicting and those that are tough. And, purposely, the songs have questions posed within the songs. They are questions that people ask of you and you ask of yourself.

Do you already have plans for 2019?

Yes. I can’t wait to release this single and its video! I’m also going to give listeners an inside view about how Red Coat was made in the studio with my co-producer, Katmaz. I can’t wait to go home to Maryland and sing these new songs live for my hometown and I’m planning my E.P. release show.

 PHOTO CREDIT: Jordan Tempro 

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

My favorite time so far...that is tough!

But, I will say that playing live is my favorite thing to do and I am fortunate to know some talented musicians. One sticks out: my first show at The Twisted Elm in New Jersey a few years back. I’m playing with a new guitarist, Mike, and when my set was done they yelled “One more!” I was so shocked and humbled. Mike and I didn’t plan anything.

I looked to him and said “Plush by Stone Temple Pilots?” He nodded ‘yes’ and hit the chords. I had no idea if he knew it. I ended up doing two more encores that night. He knows every song. I keep him close to this day!

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

Michael Jackson - Thriller

For every reason imaginable; all the reasons. I used to close my eyes and wish that P.Y.T. was written for me. And, I was like, six-years-old! 

Anita Baker - Rapture

My aunt and grandmother had her poster on their walls! She was my earliest female representation of a Rock star. I hadn’t heard a voice like that and I watched everyone who heard her songs have so many different responses. Some would get quiet and sway, others would jump up and sing out. That is real power.

Janet Jackson - Control

I danced and danced to this album as a kid. I knew every move she did on the videos; I was Janet in my mind. I thought I wanted to be both dancer and singer. I still dance but it’s reduced itself to jumping around and hip-swaying.

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

The Arctic Monkeys! My rider would just be a huge fan and some water. The fan and water to help me not faint at the thought of opening for them.  

PHOTO CREDIT: Jordan Tempro

What advice would you give to new artists coming through?

I would say that whatever you are creating, know that everyone won’t be on board and you’ll have to ride alone. And that’s alright. Keep going.

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

I’m working on that, I promise! I played in the U.K. previously. Looking to head back there as well.

 IN THIS PHOTO: Katmaz

Are there any new artists you recommend we check out?

My producer, Katmaz. His music is brooding and bubbling all at once. He gets me and my dark style and Red Coat couldn’t have sounded the way it does without our sync.

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

I unwind by listening to more music - I don’t want to get away from it. Late at night, I’m always looking for shows such as Rick and Morty and The Great British Bake Off.

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).

In true encore fashion, Plush by Stone Temple Pilots

___________

Follow Rasha Jay

PHOTO CREDIT: Jordan Tempro 

Twitter:

https://twitter.com/RashaJay

Facebook:

https://www.facebook.com/RashaJayMusic/

Instagram:

https://www.instagram.com/rashajaymusic/

Spotify:

https://open.spotify.com/artist/3DL86xcJUoJ2iv5tVvJ7Hn?si=VzYrScJFS6OcAjCtbAVF7g

SoundCloud:

https://soundcloud.com/rashajay

FEATURE: Edge of Seventeen: BBC Radio 6 Music: The Progression, the Power and Prime Cuts – and Why the Station Remains the Ultimate Ambition for Folk Like Me

FEATURE:

 

 

Edge of Seventeen

IMAGE CREDIT: BBC/@BBC6Music  

BBC Radio 6 Music: The Progression, the Power and Prime Cuts – and Why the Station Remains the Ultimate Ambition for Folk Like Me

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YOU’LL excuse (I hope) the long title...

but I have another cold – does anyone stay healthy living in London?! – and germs seem to be invading every crevice, crease and psychic corner of my mind, body and temperament. I am hoping it clears through but, as I battle the Game of Thrones-like violence of a dreaded cold, I have been thinking about a big anniversary that is coming up: the seventeenth birthday of BBC Radio 6 Music. 11th March marks the official seventeenth anniversary and I think it is a mighty big one! Apart from all the seventeen-named songs they could play (I have included Stevie Nicks’ finest at the very top), it is testament to the station’s brand, loyalty and quality that means it is still on the air. BBC Radio 6 Music is a digital station and, back in 2002, survival and popularity was not a guarantee. In July 2010, there were plans to close BBC Radio 6 Music to allow its commercial superiors the room to breathe and focus. Figures such as Lauren Laverne voiced their concern and, with vociferous and passionate campaign, the station was saved. It seems ludicrous to imagine the airwaves without such a big and alternative station. The figures show that, by 2018, BBC Radio 6 was the most-listened-to digital station around with over two-and-a-half-million listeners. I will talk more about the changes, movements and personal reasons why the station remains so close to my heart but, at its core, is this very loyal and dedicated group of people.

 IN THIS PHOTO: BBC Radio 6 Music’s new breakfast show host, Lauren Laverne/PHOTO CREDIT: Chris McAndrew for The Times

From the producers to social media guys; the small and big cogs that make BBC Radio 6 Music the must-listen-to option for those who want their music fresh, quality-huge and eclectic…they all deserve to, as Madonna said, take a bow. In terms of staff retention, BBC Radio 6 Music must rank as one of the most unchanged and impressive! I am not sure how many regular fixtures have moved since the launch but there has not been a great deal of movement through the years. Many argue there is a need for some new blood and changes – more women and black faces – but BBC Radio 6 Music, like its Wogan House-sharing colleagues at BBC Radio 2, have made some big steps. The fact Lauren Laverne hosts the breakfast show – she has naturally settled into the spot Shaun Keaveny used to fill – and we have Mary Anne Hobbs doing mornings means two of the station’s most-prominent and popular slots are occupied by women...women of the North, no less! There are, perhaps, fewer women at the station that one might hope but there is some great talent coming through. Katie Puckrik is a fabulous voice that many feel should be a permanent part of the station’s rotation; Cerys Matthew has her own show and Liz Kershaw is another big name at the station. Amy Lamé is also at BBC Radio 6 Music and there are quite a few female producers...

 IN THIS PHOTO: Amy Lamé/PHOTO CREDIT: Matt Writtle

I feel, as the station grows and more listeners flood in, there will be a remit and budget to transfer more talent in – maybe in the form of making temporary female D.J.s permanent or scouting Internet stations and local players like Soho Radio. Georgie Rogers is a voice I have been lobbying to hear more of as, not only has she got one of the most beautiful radio voice possible; she knows her stuff and is an energetic, popular and knowledgeable presenter. I am not sure whether the structure will remain the same but there are other presenters, such as the excellent Jon Hillcock, who deserves their own permanent show. Rogers has her own Sunday show on Soho Radio and I think she could create her niche at BBC Radio 6 Music with some late-evening vibes and some seriously big tunes. Hillcock is another fantastic presenter and I think a weekend evening show, every week, would be his sort of fit. Not to put words and suggestions in the box at the BBC Radio 6 Music door but there are voices on social media that are passionate about these people and would love to hear more from them. There is, naturally, finite room at the station and the intense loyalty from its long-serving riders mean job opportunities are hard to come by.

 IN THIS PHOTO: Miranda Sawyer/PHOTO CREDIT: Getty Images

I will look more closely at the station’s ethos and D.N.A. structure in a bit but, in a recent post, I was a little cold when it came to giving non-music peeps their own show. The excellent Miranda Sawyer has her Sound and Vision show that talks with popular figures from the screen and reveals their musical tastes. The Leisure Society with Gemma Cairney looks at the arts and steps outside a purely musical sphere. These incredible women present shows that are very different to anything else at BBC Radio 6 Music and it is good we get that cross-pollination of disciplines, fields of the arts and options. The fact Cillian Murphy has his own show is, yeah, a good thing (he is only stepping in temporarily but I think he might get his own long-term option)! Props to the man and I know he is already proving a popular selection – he takes over Guy Garvey’s Sunday show. I was a bit ambivalent regarding actors getting their own radio slots – bitter grapes overflowing in my wine glass! – but I think it is good. Murphy can bring his own perspective to the slot and I know he will be a very entertaining, informative and calming voice for those who want some quality tunes and relaxation on a Sunday. Aside from the need to get a few more women onto the station, it is great there are new features and shows cropping up. One cannot doubt BBC Radio 6 Music is moving and shaking in the right direction!

 IN THIS PHOTO: Actor Cillian Murphy is temporarily taking over Guy Garvey’s Sunday show as the Elbow frontman works on a new album/PHOTO CREDIT: Getty Images

I have mentioned a few of the presenters on the station but, at the moment, the weekday schedule has the reliable start from Chris Hawkins. He must be the hardest-working human on Earth and seems to be the go-to-guy when a show needs a substitute or there is some last-minute saving to be done! He is the King of Early Mornings and is responsible for waking us up with his patented blend of world-class musical knowledge, warmth and affection towards his listeners (we love him too)…and his smooth professionalism. Hawkins is one of those people you do not want to see leave the station and he keeps things warm until Lauren Laverne gets into the chair at Wogan House – Hawkins presents from MediaCity in the city of Salford. Laverne is a wonderful radio host and the fact she is also chairing (for the time being) Desert Island Discs means she is one of the most potent and powerful women on radio right now. I loved her mid-morning show but she has adapted to breakfast like a champ and has introduced some new features that have recruited fresh listeners. Hawkins has kept his core and continues to be a big pull for BBC Radio 6 Music. Laverne is one of the most knowledgeable names on the show and I always marvel how her and her production team manage to bring so many great sounds to us (is that a split infinitive?!).

 IN THIS PHOTO: Shaun Keaveny/PHOTO CREDIT: BBC/Getty Images

I love Laverne’s show and her features – including Monday’s Cloudbusting and her Desert Island Disco – are fantastic. She has brought her listener from mid-morning but I think she is also bringing in a new demographic to breakfast. Shaun Keaveny is on afternoons now and moved from breakfast. He is a fantastic D.J. (and person) and has, like Laverne, kept his followers and brought in some new people. His musical outlay is slightly different to Lauren Laverne’s show – each show has its own tattoos and flavour – and there are some different features. Keaveny seems more refreshed in the afternoons and is producing excellent shows. He is another name that is essential to the station’s survival and growth - and you always get that great mixture of humour, anything-could-go-wrong-at-any-moment and faux-moaning from the man. I was worried when he moved from his slot but Lauren Laverne is smashing the breakfast show and Keaveny is doing a wonderful job on afternoons. He is joined by Matt Everitt on music news and their bond is a key element to the afternoon show’s feel. Everitt – formerly of Menswear and The Montrose Avenue (drummer) – knows his beans and he brings us a daily dose of music news! I do like the interplay between Keaveny and Everitt and it is this sort of long-standing friendship and warmth that makes BBC Radio 6 Music feel so familial and wonderful.

 IN THIS PHOTO: Mary Anne Hobbs/PHOTO CREDIT: Getty Images

Mary Anne Hobbs – who was poorly last week with flu – is doing Laverne’s old slot and bringing her unique talents to the mid-morning gig! The soothing and warm voice of Hobbs is a perfect way to keep the momentum going and ensure the working week is as captivating and interesting as possible. Like Lauren Laverne, I am glad Hobbs was ‘promoted’ and, coming from MediaCity, there is this nice sandwich (albeit a four-layered one!) between the London-based and those in Salford. Hobbs’ sheer passion, experience and knowledge means she is bringing us rare treasures, unheard-of treats and some of the best artists around. She is as much a curator and discoverer as she is a D.J. Every show is eye-opening and you know how much music means to Hobbs – as it does every single human who works there! I like the different tones of the weekday shows and how someone like Mary Anne Hobbs can inhibit their own world. You never get two same-sounding shows and there is always something fascinating on BBC Radio 6 Music. Through weekdays and weekends, BBC Radio 6 Music boasts these incredible and highly addictive shows. Tom Robinson is one of those D.J.s who has a long history in the music industry and he brings his expertise and sheer verve to every broadcast. Don ‘The Rebel Dread’ Letts has his awesome style and show (check out his page on the BBC Radio 6 Music website) - and who can imagine weekdays without Steve Lamacq and Marc Riley?!

 IN THIS PHOTO: Marc Riley/PHOTO CREDIT: Getty Images

I love Gideon Coe’s show and what he provides; Tom Ravenscroft – another name that should be permanent on a daily basis (have his own show each day) – is someone who naturally seems at home on BBC Radio 6 Music (…and is the son of the late John Peel). Gilles Peterson, Nemone; Huey Morgan and Craig Charles are entertaining, hugely popular and essential ingredients in the BBC Radio 6 Music cuisine! Doing weekend breakfast is Stuart Maconie and Mark Radcliffe and I was a bit worried when they were taken from their weekday afternoons and moved to weekend breakfast! That said…they have made weekend breakfasts their own and they are doing wonderfully. I love the fact that these icons of radio remain together and that is what I mean regarding togetherness and loyalty – I could not imagine Radcliffe or Maconie being without on e other! Their morning show is fantastic and they have the let’s-hope-never-ending The Chain and Tea Time Theme Time. The presenters are fantastic and one mustn’t forget all the people behind the scenes that make it all run smoothly. There have been few big changes regarding personnel and shows through the years but I like the fact the D.J.s feel happy where they are and always bringing something new to their shows. BBC Radio 6 Music is never stale and predictable: every year, there are these revolutions, changes and new aspects.

 IN THIS PHOTO: Craig Charles/PHOTO CREDIT: Getty Images

Not only is the love the presenters have for the station the reason why BBC Radio 6 Music recruits new listeners – and existing ones are not upset when their favourite names leaves! – but you have these familiar and fabulous voices that seem like family. They follow us when we head to work in the dark and they keep us company, secretly, when we sneak a listen in the office. We get to hear them when we are commuting home and, when we need something electric, eclectic and  fun at the weekend, they are there to provide a box-full of cool vinyl, fresh cuts and engaging chat! I have written about the station multiple times – and will continue to do so – but there are multiple reasons why I am a die-hard fan. For a start, the music played is definitely a lot cooler and more ambitious than many stations. Tune the dial to any of the big and small names and you get varying quality. This might be subjective bias but BBC Radio 1 is too chart-based and, aside from people like Annie Mac…not many of the D.J.s are playing top-quality stuff as often as they should. BBC Radio 2 can stray into the slightly chart-cheese/calm realm and, whilst they play a lot of the classic hits, they are not so up regarding the newest underground acts. Each station around has its own remit and demographic but I worry whether there are these divides between stations like BBC Radio 1 and 2 – the former for the younger and the latter for those who prefer some softer chart music and the older tracks. I guess that is the way it needs be but I feel BBC Radio 6 Music is a natural peacemaker and can unite the classic and new without much effort.

Although they do not play a lot of BBC Radio 1’s worst moments (the processed Pop and inane Electronic music), there are some common threads between the stations. BBC Radio 6 Music will dip into the cauldron of BBC Radio 2 without playing a lot of the slightly sterile and faceless chart songs that favour those of a slightly more mature frame. In acting as an intersect on the Venn diagram, we have this divining rod that is wide-ranging and speaks to those who like their music without barriers, restrictions and guidelines! It is the freewheelin’ and unpredictable nature of the station that pricks the ears of the curious and keeps its loyal core happy and safe. One would not be shocked to hear BBC Radio 6 Music play something from Del Shannon alongside The Prodigy or Stevie Nicks! They do not tend to play much commercial chart stuff or certain genres but, with few limitations, the sky is open and theirs for the taking! That is the main reason BBC Radio 6 Music succeeds and appeals to the genuine music lover: the huge breadth of their playlist and how they can introduce us to great new acts and remind us of some of the legends and classics songs we forgot about! I do love the fact they give a home to unsigned and upcoming artists; so many I know have been given a boost by the station.

 IN THIS PHOTO: Matt Everitt with The Rolling Stones’ Ronnie Wood (who he interviewed for his The First Time with… show)/PHOTO CREDIT: BBC/@matteveritt 

Not only is the variety of music played amazing but the features and shows we see on BBC Radio 6 Music is insane! There are one-off broadcasts that cover everything from album anniversaries through to women in music and, as they have been doing lately, Berlin has come under the spotlight. It is not the case, as you get with many stations, they are very rigid and do not deviate much from the format. I like the documentaries on the station and the regular features like Matt Everitt’s The First Time with... and The Leisure Society. The station marks albums’ anniversaries and they celebrate icons who have big birthdays. One of the hardest things they had to do was react when Prince and David Bowie died in 2016. Instead of panicking or ignoring the fact, they dedicated the station to them and seamlessly altered their playlists so that their music was played. The list of assets and wonderful facets (of BBC Radio 6 Music) is endless and BBC Radio 6 Music is always responding to its listeners and what they want. I guess the BBC Radio 6 Music Festival will be back this year - they didn’t run it in 2018 - and it will be interesting to see who they book for their stages. I predict Self Esteem (Rebecca LucyTaylor) will play a big role but there will be this great mix of established artists and the new breed.

 PHOTO CREDIT: @BBC6Music

I have talked a lot about a possible BBC Radio 6 Music awards – that would be better and more equal than the Grammys and BRIT Awards – and would cure some of the downfalls regarding the Mercury Prize and how it chooses its shortlist. The station has been going for nearly seventeen years and it has adapted to changes in music and technology. Looking at the BBC Radio 6 Music Twitter feed and there is this constant communication between the station and fans – getting the listeners involved and responding to their voices. I have only really scratched the surface of what makes BBC Radio 6 Music great but I know, when it hits seventeen, there will be much cheer and celebration.

The fact it was threatened with extinction only eight years into its run makes it extra-special the ship continues to sail and conquer new lands! I do wonder if there will be any personnel changes in 2019 – aside from Cillian Murphy’s appointment – but, if it ain’t broke, then why fix it?! Seventeen is quite a milestone and, rather than mark this stroppy and hormone-laden teenager, we will party tribute to this dignified and cool-as-hell student – if BBC Radio 2 is the parent that asks the kids to keep the volume down; BBC Radio 1 is the drink-laden revelers turning up the volume then BBC Radio 6 Music is the smiling teen that sits in an empty bath and listens to a Talking Heads record on a turntable and peruses a biography of Madonna!

 PHOTO CREDIT: @heftiba/Unsplash

One of the big reasons why people like me – music journalists and impassioned folk – love the station so is because it seems like our natural home! Whilst there is a long list of people who want their own show there, I hope I do live to see the day when I can hear my own show back – even if is only a one-off. I adore the fact there is this scope for one-offs and once a week slots; a chance for autonomy and something fresh. Cillian Murphy has his show coming up very soon but my desire has been to have this show– maybe once a week – that is a few hours long and I can mix in these new songs (those that might not be familiar with BBC Radio 6 Music) and the songs/artists who have moulded me. I would dedicate the second hour of each show to my own segments and ideas. Every week would feature a documentary that would focus on anything from albums celebrating anniversaries to sexism in the music industry; a look at movements like the birth of Hip-Hop or talk about sampling in music. There would also be a music interview with various figures – from D.J.s and actors through to celebrities – that would allow them, almost Desert Island Discs-like, the chance to pick songs important to them - and we could shoot the breeze along the way.

I am currently pitching a Kate Bush documentary idea to radio producers and feel like BBC Radio 6 Music would allow a D.J. to bring that to the station or something similar – I am also thinking about a Madonna documentary that would be pretty cool too. There are numerous reasons why musicians and ordinary folk alike see BBC Radio 6 Music as the best station around. Not only are there these amazing presenters and names that have such passion and love but there is this consistently great music! I have discovered so much new and older music through the station and continue to do so. I love how each show has its own skin and sound and there are these presenters who sound effortlessly assured and completely dedicated to what they do. BBC Radio 6 Music provides an alternative spirit - but it never alienates and excludes. Instead, it is a warm and welcoming inn for those who want to stray away from the samey and commercial-heavy streets and discover something evocative, memorable and hugely picturesque. The station is the natural haven for those who put quality of the music above ‘popularity’ and a rather flawed notion of what is cool and relevant. If you are unware of BBC Radio 6 Music then make sure you get it on your DAB radio or Smartphone (or laptop) and listen as much as you can.

 PHOTO CREDIT: @rawpixel/Unsplash

I listen during the week and weekends but you can dip in and out and discover all these great shows. It is almost like this incredible banquet filled with colours and varied scents: everyone will be able to find something that suites their tastes and come away fulfilled and happy. So many of us have been enriched and made better by BBC Radio 6 Music and given fresh perspective. I, personally, have been given this ambition to get there myself and present my own show. The station has made me more informed and ambitious as a music listener and journalist and I have this always-reliable and wonderful station full of friendly voices that can keep me protected against the vicissitudes of daily life and hard decisions. It would be folly to suggest the station can remain active for decades to come but I see no reason why not! The BBC chiefs realised, back in 2002, the station was a great idea and, when it was threatened with closure, they listened to those who felt aggrieved and angry. Now, as BBC Radio 6 Music grows each year and remains this titan, there is no way the ball will not keep rolling. There will be thousands of listeners out there whose lives have been changed – significantly or in a minor way- simply because of the station and what it does to us. I do not get the time to listen as much as I used to but I listen on BBC Sounds and ensure I catch up every day!

Who knows how much more growing the station can do and what BBC Radio 6 Music will look like in, say, a couple of years. I hope the established presenters are still there but I would like to see some new talent come in and get their own shows. The great and growing BBC Radio 6 Music has already asked its parents for presents and I am sure, like every seventeen-year-old, it will want a party with its mates! I hope the station does have a shindig on 11th March. I mentioned how BBC Radio 6 Music is the cool kid who shuns the noise and hangs out in the bathtub so, whilst there might be some Blur pounding on the living-room stereo, I’d like the think the seventeen-year-old station will keep its cool and sobriety and listen to Remain in Light (Talking Heads) with a smile on its face – although one would forgive it if a sneaky beer were to make its way in (even the most sensible teenagers let themselves go once in a while)! I have so much to thank BBC Radio 6 Music for and I have so much love and appreciation for all the remarkable people who make the station run. From the controllers and bosses to the producers, runners and presenters – all of them are essential and are the reason why, in 2019, BBC Radio 6 Music is the most-listened-to, digital-only station. Let’s hope the BBC Radio 6 Music Festival is back in 2019 and I cannot wait to see what shows and broadcasts come. Some big albums turn thirty this year (including De La Soul’s 3 Feet High and Rising on 3rd March and Madonna’s Like a Prayer on 21st March) and The Beatles’ Abbey Road is fifty in September. It is going to be a big year for BBC Radio 6 Music and, after switching their weekday line-up (four shows, at least), the station is growing and bringing in new ears. As BBC Radio 6 Music will mark its seventeenth birthday with a big cheer, I will be sure to slip a card and a cool vinyl...

 IN THIS PHOTO: Chris Hawkins (back, centre) with The Lottery Winners/PHOTO CREDIT: @ChrisHawkinsUK/BBC

THROUGH the post!

INTERVIEW: Glass Peaks

INTERVIEW:

PHOTO CREDIT: Ant Adams

Glass Peaks

___________

THANKS to the guys of Glass Peaks...

for talking with me about their new single, Misery, and how it came together. I was keen to learn how long they have known one another and whether they have plans for more material – they reveal some approaching artists worth looking out for.

I discover what sort of music the guys vibe to and how they spend their free time; which albums mean the most to them and how they are coping with the slightly cold weather – they each select a great song to end things with.

____________

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

Alf: Great, thanks! This week has been manic. We just put out our latest single, Misery, so we’ve been busy spreading it far and wide! 

Jake: It's been pretty beautiful, thank you. Releasing new music into the world is always satisfying.

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

Alf: Sure! We’re Glass Peaks; a three piece based in Kent/London. We write songs: some are really aggressively loud and intense, others are a lot more intricate with softer tones - we have a diverse musical palette. There’s a strong sense of the ’80s that seems to always find its way back into our music. 

Jake: Three idiots who try to write music…

PHOTO CREDIT: Ant Adams

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

Alf: Yes. I have a new scarf that I love loads. I think I’m going to wear it in July, that’s how much I love it. For me, it actually has the opposite effect. I get really bummed out by the U.K. climate in the winter. I feel far more creative in the summer months, generally. But, you never know! Ideas for music can just hit you randomly out of nowhere!

Jake: I'm ALWAYS boiling so the winter is great for me. We've just had a wood cabin built at the back of my garden which is lovely to write in over the winter months.

Grant: I really hate the sun so this winter weather is perfect for me. I feel winter is a much more inspiration season than most.

Misery is your latest track. What is the tale behind the song?

Alf: It’s loosely based on Stephen King’s novel, Misery. It’s real dark story that was adapted into a terrifying film starring Cathy Bates. I wrote the lyrics after watching that movie one weekend accompanied by the worst hangover I’ve ever had. It was of those tunes that just fell out of me. The whole track is a commentary on addictive personalities and the idea of craving something. 

There is a new label, Close-Up. Is that Glass Peaks’ label?

Alf: No, it’s not our label but I believe we’re the first band to sign to it! The Close-Up team are our booking agents and they decided to team up with a Modern Sky and start their own label. When they approached us to sign Misery to it we were absolutely thrilled. We’ve been working with Close-Up for years so it felt very logical and natural. 

What is coming next for you guys in terms of material?

Alf: We have the next three (potentially four) tracks almost ready to go so we’re just planning those releases now. There’s so much work that goes into each release so we just want to make sure we get it right! We’re also putting out a video for Misery shortly, so do be sure to check that out!

Jake: In 2019, I would like to release as much music as we can. Show the world what we have in our back pocket.

Grant: A diverse spectrum I feel is what's on the horizon. Some of the new songs are a little different to what we've done before.

How did the band form? Do you recall when you all met?

Alf: I’ve known Jake for years. We used to work with one another at a terrible music exhibition - but it enabled us to pretty much play the guitar all day which was amazing. Jake went travelling to the States for a year and, when he returned, he started Glass Peaks with Grant. I got involved a little later down the line. 

Jake: We grew from the ground, like an oak tree.

Grant: Yeah. Me and Jake were in a band before Glass Peaks and, as Alfie said, when he returned from the U.S. we started something new and fresh. Oh...and asked Alf to tag along.

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

Alf: We do generally, yeah! I think you’d find a lot of crossover. We all share a love of Radiohead, Foals; Peter Gabriel etc. I’m really into the whole Shoegaze sound i.e. My Bloody Valentine, Ringo Deathstarr etc. I’m listening to loads of Beach House and The Phoenix Foundation at the moment. Grant has the best music taste of anybody I know though. It’s so unbelievably diverse; he’s always pulling corkers out of the bag when we’re driving around on tour. 

Jake: If we're ever a bit down, I'll just stick on a bit of George Michael and instantly the mood is lifted. We all love good music, no matter what genre.

PHOTO CREDIT: Ant Adams

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

Alf: We played the Isle of Wight Festival in 2018 which was pretty amazing. That definitely sticks in my mind as one to remember. I have some great memories of being in the studio in the summer and just really enjoying that intensely creative time with the guys. They’re always really great memories. 

Jake: Oh, man, we could do a separate article about all the stupid sh*t we've got up to over the years. So many memories. I absolutely love these boys and the memories we've made.

Grant: I'll give you a bizarre one. Us three walking around Newcastle with a big group of lads. Led by a man holding a roman legionnaire sword asking who's in his gang.

 PHOTO CREDIT: Ant Adams

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

Alf: There are so many but Amnesiac by Radiohead stands out. I really like the fact that, despite it being recorded in the same sessions as Kid A, they decided to create another entire album that follows almost an entirely different narrative. It has some of my favourite tracks on it. Knives Out being a personal favourite. 

Jake: I would have to say Foals - Antidote.  It was an album that changed the way I played guitar forever. 

Grant: So many for different reasons but here is one - Silent Alarm by Bloc Party. It was the album that really sucked me into music and playing.

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

Alf: You know what; I’d love to get on the Wolf Alice support slot. I’m a huge fan of their early work as well as Visions of a Life and I think, sonically, it would work really well. The rider would be made up of largely beers, beers and more beers. I think I can speak on behalf of the whole band in regard to that. Haha.

Jake: I would like to support The 1975. The fans are mad. Beers, hummus; crisps, beers; Nandos and puppies.

Grant: If they got back together The Maccabees. I miss them so much and our sounds would work together I think. Alf's already got the rider sorted.

PHOTO CREDIT: Jordan Logan

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

Alf: We certainly do! We’re playing in Bristol at the Hy-Brasil Music Club on 20th Feb and we’re in London on the 22nd Feb at Hoxton Square Bar & Kitchen. Both shows are with the lovely lads in Bedroom Boredom. We’ve just confirmed a few festival shows that we’re super-stoked about - we’ll be announcing those in due course. 

What advice would you give to new artists coming through?

Alf: I’d say just make sure you’re one-hundred percent up for it. You can’t make a real go of it unless you have more than one-hundred percent commitment and energy. You need to learn to take constructive criticism well (and also accept that some people will just straight up hate your music for no real reason). 

Be prepared for knock-backs, setbacks; disappointments and more. If you can get through all of that with your chin up, good things will start to happen and it makes them all the more worth it. 

Jake: Save money now. You'll need it.

 IN THIS PHOTO: Shanghai Blues

Are there any new artists you recommend we check out?

Alf: Hot Dreams are an amazing new artist who you should definitely check out. They recently posted the most gorgeous live performance video I’ve ever seen. Really stunning stuff. Submariner are another band to keep your eyes and ears open for; great lads with a great sound. Our roster pals Shanghai Blues and Hows Harry are all doing bits as well. There’s a lot of really great music out there right now. 

Jake: Another Sky and Calva Louise.

Grant: Sarpa Salpa are definitely a band you need to check out! Also, I don't know if these are now considered NEW, but Indoor Pets. Get on Teriyaki.

 IN THIS PHOTO: Indoor Pets

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

Alf: Not really, no! Haha. But I wouldn’t have it any other way. When we do get downtime, I just like catching up with my mates. Spending time with the people you love is very important. 

Jake: I'm a barber and that's something I absolutely love and makes me feel very calm. Apart from working and making music, I enjoy talking to my dog like she's a human.

Grant: Playing Football Manger till ungodly hours of the morning. Stress-preventing.

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).

Alf: What a treat! Can you please play Chillers by Another Sky? I’m absolutely obsessed with that band at the moment and the track is just perfect poetry

Jake: Spice Girls - 2 Become 1

Grant: Amazing! Could you conjure The Distance by Cake

___________

Follow Glass Peaks

PHOTO CREDIT: Ant Adams 

Twitter:

https://twitter.com/glasspeaksband

Facebook:

https://www.facebook.com/glasspeaksband/

Instagram:

https://www.instagram.com/glasspeaks_band/

Spotify:

https://open.spotify.com/artist/0ZsGh2oWN3ogufnBgS0JWp?si=quT9r8WdRXKfuwwrL6UfPQ

SoundCloud:

https://soundcloud.com/glasspeaksband

TRACK REVIEW: Gold Complex - Homegirl

TRACK REVIEW:

 

Gold Complex

Homegirl

9.5/10

The track, Homegirl, is available via:

https://open.spotify.com/track/44I3RJr477lVCsXilT1Iat?si=xvMbs_zATgeuoZ0XCyrzZQ

ORIGIN:

Toronto, Canada

GENRES:

Pop/R&B/Rock/Soul

RELEASE DATE:

8th February, 2019

__________

THE way I am doing things with reviews now...

is that I am focusing on one popular/well-known artist to start with at the weekend and then looking at someone new the next time around, on Sunday. The reason I am doing that is because, to be truthful, there is not a lot of distinction between the requests I get. I get ones like this that are distinct and give me new angles to explore but too many are very samey and there is nothing much to be said. Having to repeat myself every week can get very boring and frustrating so I find it is easier if I go after a bigger artist who I know will provide me with some fresh aspects. Today, as I look around, I get to look at Gold Complex. To be fair, I will be repeating myself a bit with regards some of the topics raised but they have some elements that are different from everything else I have featured lately. I will talk about recommendations for the band and strengthening their social media core; a bit about Canada and Toronto when it comes to music; fusing different worlds and getting something exceptional at the end; vocal harmony groups and larger acts – I will end by looking at Gold Complex and where they might head. I have featured the band before – back in 2016 – but can’t recall what I said and whether it was an interview or not. It was a long time ago so I am not being too harsh on myself but there has been quite a bit of time since then for the guys to build and put new stuff into the world. They have been very busy and developing their sound as they go. I think they are in a really strong position right now and they will only continue to grow bigger and more confident. The guys have a great sound and sensation and they are doing their very best to promote that and ensure they keep the material coming – and that it is of a very good quality.

I think they could definitely have a few more shots out there. I say this with every act – or most of them – but there is this scope for visual expansion. Gold Complex is an octet and, as such, they have various different angles they can take regarding photos. If they want to do all group shots then that is cool but they can split into smaller groups and try some concepts. I think they have some very good photos out there but a few extra ones on their pages – with different concepts – would be great. The reason I say this is because, when you have groups, they tend to do very similar photos and it can be a bit samey. The boys have a great bond so having some individual shots or some different concepts would be good. They are popular in Canada but I think there is a big market waiting for them in the U.K. Maybe it is hard to get the music heard here unless there are regular performances but hitting up the U.K.’s best stations and putting their music this way would get new fans their way. I know they have fans in the U.K. but I think there are a lot of new ears waiting to discover them. If they can get some radio stations here to play their music then they can get some gigs here and I think there would be big demand. Maybe they have a bit of a base here but there is a big opportunity here. I will move on to a new subject but I know Gold Complex take good care of their social media and always trying to get their music to fresh faces. I am not surprised they have such an interesting sound because, when I think about invention and originality, I am taken back to Canada. It has been a while since I ventured there and got to review a great Canadian act. Toronto, especially, is an area that always seems to produce results.

Most of my recent investigations have concerned U.K. and U.S. artists so I am glad I get to go back to Canada and have another look. Most of my Canadian-based reviews seem to focus on Toronto but I have looked at Montréal and Quebec. I think many of us overlook Canada when it comes to music and assume it will be inferior compared to America. I think there are vast differences between the nations. There seems to be more commercial pressure in the U.S. and fewer underground artists taking risks. That might sound incorrect but I think there is more boldness and bravery when it comes to Canadian music. Canada does have its mainstream and Pop core cut I think its new artists are fusing sounds more and providing something fresher and more exciting. Toronto has produced great bands such as Broken Social Scene and Crystal Castles and there are no signs the city is slowing down at all. When I interview people from Toronto, they always tell me there is a friendliness and sense of community that musicians are drawn to. There are great venues to be found and plenty of opportunities for artists to see different acts and get inspired. Having a core and solid live scene means local artists can cut their teeth and get that recognition. From there, they have the chance to move up and attract ears from other parts of Canada. Many Toronto natives are being retained and feeling no need to live anywhere else. Maybe it is the community and togetherness that keeps musicians where they are. I think it is the combination of history, great live venues and eclectic music that makes it such a fantastic place to be. As more people are looking away from London and seeking out other cities to inhabit, I think Toronto is a possibility for many – if you do not mind especially chilly winters! I do think Canada, as a whole, gets overlooked and has to fight too hard for focus.

Maybe that will change in time but, if you look at cities like Toronto, there is ample gold. I have not been there myself but I know there is a hugely eclectic scene forming. Canadian acts, unlike some other big nations, are still very keen on older technologies like cassettes – with many artists releasing music on this format and keeping it alive. What I do find (regarding Canada) is that there is this genuine sense of ambition and dare that means the music is rarely boring and formulaic. Toronto is at the forefront of this inventive streak but Canada is definitely a nation to watch! I am not sure why this is but Canadian artists are bolder regarding splicing sounds and adding new ingredients to the pot. Look at previous Gold Complex songs like Driver – the song I was going to review but, as time has passed, I felt it better to review their newest track – and you can hear it is not like anything else really. This is not unusual at all: Canadian artists are known for their skill and intelligence when it comes to original expressions. Sure, there are some mainstream and Pop-heavy acts that do not stray far from the norm but I think Canada boasts so many interesting and curious souls. It does make me wonder whether there is a channel whereby journalists in the U.K. and U.S. can connect easily. I think we tend to concentrate too much on the U.S. and U.K. and Canada does not get as much of a look in. I love the way Canadian artists work and think the rest of the world needs to take notice! I shall move on and talk about something else but do some research and see what tremendous diversity there is in the country. Canada, I feel, is right at the forefront and should be respected accordingly. Let’s think about Gold Complex and how they approach their music; mixing together sounds and ideas that create this harmonious and evocative whole.

Every one of the songs from Gold Complex has a sense of funk and drive. You always get energy and a degree of freedom that gets you moving and makes you smile. Even when the guys are thinking about something more emotional and personal, that does not mean the music has to suffer. That is what I am talking about when it comes to their music: even when they are getting serious, they like to have fun and create something quite alluring. In terms of their music, you get this horn parts and blasts of sound; you have the harmonies that run riot and an immense amount of power. Gold Complex mix genres but, largely, one experiences a bit of Funk, Soul and R&B. Maybe there is some Pop in the mixture but I think Gold Complex are stronger than that. They have been seen, by some, as similar to Red Hot Chili Peppers in the way they melt these genres and the energy they project. Think about harmony-rich bands of the past like All-4-One and Boyz II Men and it has been a long time since we have seen anything like that. Whilst Gold Complex are slightly different to those American bands, the vocal strengths are very similar. I was thinking about larger bands and why they do not really exist right now. Bands as a whole are becoming less popular so the days of having these larger bands must seem strange. I do remember, back in the 1980s and 1990s, enjoying the all-male/all-female crews who could have so many members and had so much vocal firepower at their disposal. I would like to see this come back because, when you think of bands, the voice is not top of the agenda. In fact, when it comes to the sounds being produced, there are still more Rock and Alternative bands around than anything else. Gold Complex intrigue me because they have this tight bond but they can go in any direction they please.

I love what they are throwing out right now. It is so different to anything else and it is the way they can splice genres together that gives them such a fulsome and rich blend. Maybe I am being nostalgic but I loved the days of Boyz II Men and the fact bands did not necessarily need to focus on instruments to elicit response. I hope Gold Complex keep playing together in the way they are because there are few groups like them right now. It makes me wonder how the eight members of Gold Complex got together and started life. It is interesting to envisage how eight guys all started recording and when they realised they sounded great together. There is a danger, when it comes to male bands like this, they can descend into cheese territory and be a bit like a boyband. I have nothing against that type of group but it is not something I am interested in. Gold Complex are more like the respected and quality groups you had decades ago that could combine this many bodies and not seem unwieldy at all. Have a listen to the vocals on display when Gold Complex get going. Look at the genres they put together and how they sound. It is hard to compare them with anyone else and think of any like-minded groups. There must be others out there but is rare to see an eight-piece group playing and making music like this. I think, in time, there will be more bands like Gold Complex coming along. Think about the effect the vocals have and what the music does to you. This inspiring and colourful blend definitely makes you feel better and there is that clash of the modern and classic. One gets touches of the older-days male groups but you get something very much of this time. It is probably worth moving on and thinking about the latest track from Gold Complex, Homegirl. It is another exceptional and assured cut from the Canadian troupe.

Homegirl sort of comes up in two different stages. To start, we have this slightly Jazz-like calm that provides gentle percussive elements. There is this kind of sensual and calming mood that draws the listener in and gives you a distinct viewpoint. There is romance to be found and this rather calming aura. I was imagining a passionate scene or a quiet room. They may sound unconnected but one definitely gets a feeling of relax and release, even though the opening moments are quite calm and undramatic. Then there is a kick as the percussion steps up and the horns come through. It is not an explosion but more of a rousing little rise that takes the song up a gear and changes your mindset. I do like the way the introduction sort of builds and the fact you cannot really predict where it might head next. Underpinning the song is this sophisticated and smooth composition that jigs and jumps. One feels a definite energy and kick but the focus is on a sexiness and caramel smooth. It is a gorgeous sound and one that, to me, fuses Jazz and R&B. I like the horns and the way they add to the mood. When the hero comes to the microphone, he talks about this new girl being interesting and bold. She is not like anyone he has met before and, within a few weeks of their courtship, she is calling him ‘baby’. The vocal has a soulful and passionate tone and it is a great accompaniment to the composition. In many ways, there is this fusion of the older R&B groups and something modern-day. The track never gets into the modern boyband situation where the lyrics are quite cliché and the song holds little weight. Instead, the chorus has this accessible nature and sound but one definitely gets vibes of the better days – when you had these vocal groups that produced luscious and scintillating songs.

The chorus talks about this new girl sort of being converted. Maybe the lovers are tentative at first but, soon enough, they are fused and a lot closer. The hero wants her to be his homegirl and hang with him. Maybe there has been past relationships that have not worked out too well but here, it seems, there is more hope. I feel this girl is someone who naturally clicks with the hero and there is this excitement. The chorus flecks and sparks with a serious bounce. You find yourself nodding along to its alacrity and catchiness. Although I have mentioned other sounds and eras, I do not think it is easy to compare Gold Complex with anyone else. There is almost a Michael Jackson-like feel (his Off the Wall period) to the song that is pleasing. I have been looking around for songs that have that 1980s Pop and Soul but have modern production values. Gold Complex are always great when it comes to big choruses and this is no different. I do love the constant sense of movement and delight that the song offers. I am thinking about the heroine and wondering what she looks like. The entire group add their elements and create this fulsome and vibrant mood. One might say an eight-piece band would struggle to remain focused and provide any real depth. How many people will sing and how many will be playing instruments? In the case of this track, there is a focused lead vocal but some great backing; the composition allows new light and elements to come in and Homegirl is this nuanced and fascinating song. The lead vocal looks at this girl and how chilled she is. There is no need for any sort of probation period and seeing how things go. It seems, right away, she is on the same level and someone that is perfect. The guys are paying testament to her and I wonder whether this woman is less a romantic fixture or someone who is just hanging with the guys.  Maybe, strangely, there is a bit of a Fall Out Boy tone in the lead vocal but I love the different tones and flavours the group provide.

I love the track and how it keeps on stepping and jumping. There are not many songs that have a constant energy and make you feel a lot better. The horns are great and they give this idea of vibing and chemistry. If the foreground and vocal suggests something more Pop-based, the composition and lyrics hint at R&B and Rock. It is a nice blend and concoction that rewards repeated listens. I have heard the song a few times and get something new from each experience. The chorus remains this huge and catchy thing but I was thinking about the central figure and who she is. On one level, I think there is a slight romantic yearning and desire. She seems to be pretty cool and someone that is naturally in step with the guys/hero. On the other hand, she seems like a really interesting person that Gold Complex feel is similar to them. Many will have their own interpretation of what the song is about but few can resist the intensity and pleasure of the mood. I am keen to experience music that makes me feel better and, in the modern scene, that is becoming harder. Homegirl is a fantastic song that bodes well for the album. I wonder where it will sit in the pack and whether many of the other songs will have the same sort of flair. I do hope so and, knowing Gold Complex’s work, they are unlikely to put too many piano ballads in there! If you have not heard Gold Complex before then this is a great song to begin with. It is easy to appreciate but there is so much going on that will intrigue. I do wonder who the lead figure is and whether she is based on someone real. It appears there are some deep feelings going on and this heroine seems too good to be true. Homegirl is an original spin and take on romance and friendship. It is another fantastic offering from Gold Complex – a group that continues to evolve and strengthen with everything they do. The chorus has that classic sense of giddiness and memorability and I am a big fan of songs that work this way. Because of that, you will want to return and experience that joy over and over. I shall end the review section here but I have been blown away by the energy and instant appeal of Homegirl. It is an incredible cut and makes great use of all the members of Gold Complex. There are few groups that can create such a sensation and feel but Gold Complex are assured and astonishing in everything they do. Homegirl is a perfect song to bring the heat and sun; brilliantly smooth and romantic or, if you just need to dance and unwind, then this is the track for you! I have very high hopes for the Canadian group and feel they are a lot stronger than most of their peers right now...

Gold Complex are going to be pretty busy in the coming months. They have the new single out and, on 22nd February, they release their debut album, New Soul. The guys released an E.P. back in 2015 and, since then, have unveiled a couple of singles. In fact, the group were a little quiet between 2015 and 2018 and I did wonder whether they would release anything else. Perhaps they needed more time to get the songs right but it is a relief Gold Complex have come back and they have been working on that album. There is a lot of pressure for artists to release music all of the time and remain visible. I know, given the complexities and layers you hear on a Gold Complex song, there needs to be focus and patience. They are naturally harmonised and bonded but one does not experience something simple and throwaway with Gold Complex. Instead, there is this music that gets into the brain and makes all the senses tingle. The vocals are exceptional but the compositions are equally fabulous. It takes a while to make sure that is right so one can forgive a slight gap between releases. Keep an eye on the social media channels of Gold Complex and make sure you snap up their debut record. The group have been around a while now and have made a name for themselves in Canada. There is still a long way to go and new areas to conquer. I do wonder whether they will get to the U.K. and we will hear them over here. Given the fact they are turning heads in Canada, it cannot be that long until we get to see them over here. I am not sure what their plans are regarding an international tour but they might be focusing on Canada at the moment. That would be understandable but, if they do get the chance to travel, there are people and venues over here that would be very interested.

I will end the review very soon but I wanted to recommend people check out Gold Complex. It has been a while since I’ve been able to talk about a new act in a different way. I get a lot of similar requests and it can be tricky finding fresh words to say – and the sounds do not always stay in the mind. The band has those incredible vocals and harmonies but I do love the fact they switch between R&B, Rock and Pop. Some might say they have a commercial sound but that would suggest they are mainstream and chart-bound. I think Gold Complex are stronger than that and they remind me more of the classic R&B bands of the 1990s. However you view them, it is clear this year will be a successful one for the group. I intimated they might want to get a few more photos online. I think they have a great chemistry and visual side. It would be good to see that displayed more perhaps. If you have not experienced Gold Complex then Homegirl is a good place to start. It is one of their strongest offerings yet and shows, with every release, they are strengthening and discovering new levels. I wonder how the band will grow and where they head next. There will be Canadian dates and demands and I am sure there will be requests from the U.S. too. I shall not get too ahead off myself but it would be good to think Gold Complex will come over this way. There are so many groups out there and there is definitely something different about Gold Complex. I love the sounds they put together and the effect their music has. Let me end things here but I am pleased Gold Complex have new music out and I look forward to seeing where they go now. I am always excited when a genuinely inventive and original proposition comes my way and I just know the Canadian eight-piece will go a very long way. Congratulations to the guys on a brilliant single and the best of luck for the future. The New Soul L.P. will do great business and see their stock rise. If you get a chance to see the group live and up-close, make sure you do. That is likely to be an experience...

FEW people will forget.

___________

Follow Gold Complex

Official:

https://www.goldcomplexband.com/

Twitter:

https://twitter.com/GoldComplexBand

Facebook:

https://www.facebook.com/goldcomplexband/

Spotify:

https://open.spotify.com/artist/6A8rJAyRfdpX1wO33Qig8w

YouTube:

https://www.youtube.com/channel/UCPbJ3gooAF3yXnp_tkDLXuQ

Instagram:

https://www.instagram.com/goldcomplexband/

FEATURE: The Mid-Life Crisis? Ten Classic Albums Turning Forty-Five in 2019

FEATURE:

 

 

The Mid-Life Crisis?

IN THIS PHOTO: Queen’s Freddie Mercury in 1974/PHOTO CREDIT: Mick Rock 

Ten Classic Albums Turning Forty-Five in 2019

__________

MAYBE 1974 does not have as many giant albums...

 IN THIS PHOTO: LaBelle photoed in New York in 1974/PHOTO CREDIT: Bob Gruen

as other years but there are definite gems that turn forty-five this year! It is a great year for music and there are some records from that time that are still making an impression today. I have looked at the list of 1974-released albums and collated ten that are worthy of closer inspection. Do make sure you have a look and investigate them. I think those anniversaries that end in a ‘0’ or ‘5’ warrant attention and we need to keep the albums alive that have endured. Take a good listen to these ten albums that turn forty-five this year and, back when they were released, either made a big impression and succeeded or have grown in stature since their release. I am sure you will discover some albums in the assembled that will...

 IN THIS PHOTO: Stevie Wonder pictured in Detroit, MI in 1974/PHOTO CREDIT: Bob Gruen

PEAK your interest.

ALL ALBUM COVERS: Spotify

_______________

Jackson Browne – Late for the Sky

Release Date: 13th September, 1974

Label: Asylum

Producers: Jackson Browne/Al Schmitt

Review:

“Another difference between "Pet Sounds" and "Late For The Sky" is - while "Pet Sounds" is made (officially) by the group but it is estimated that it's a work of Brian Wilson and guest stars, "Late For The Sky" is officially Jackson Browne album but many key ingredients were added by his backing band, most importantly David Lindley. So maybe it would be fair to say that "Late For The Sky" is Jackson Browne Band album. David Lindley's guitar parts are piercing through the air, check out intros of "Late For The Sky" and "Farther On", as well as backing vocals adding more colors and depth to already great picture. This is one of records you hear the air trembling between instruments, making silence audible and meaningful. In terms of completeness and perfection this is album at very top. Although all of the stuff are pure masterpiece, there are three songs which touch me every time I hear them: "Late For The Sky", "For A Dancer" and "Before The Deluge". 

Browne was inducted into the Rock and Roll Hall of Fame in 2004. In his induction speech, Bruce Springsteen noted that while the Eagles got to the Hall first, "You (Browne) wrote the songs they wished they had written". Amen to that, all the evidence is on "Late For The Sky" – Sputnikmusic

Standout Cut: Late for the Sky

Stream/Download: Farther On/The Road and the Sky/Walking Slow

Roxy Music – Country Life

Release Date: 15th November, 1974

Labels: Island/Polydor (U.K.)

Producers: Chris Thomas/John Punter/Roxy Music

Review:

“Continuing with the stylistic developments of Stranded, Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock. At their best, Roxy combine these two extremes, like on the exhilarating opener "The Thrill of It All," but Country Life benefits considerably from the ebb and flow of the group's two extremes, since it showcases their deft instrumental execution and their textured, enthralling songwriting. And, in many ways, Country Lifeoffers the greatest and most consistent set of Roxy Music songs, illustrating their startling depth. From the sleek rock of "All I Want Is You" and "Prairie Rose" to the elegant, string-laced pop of "A Really Good Time," Country Life is filled with thrilling songs, and Roxy Music rarely sounded as invigorating as they do here" – AllMusic

Standout Cut: Out of the Blue

Stream/Download: The Thrill of It All/Bitter Sweet/Casanova

Queen – Sheer Heart Attack

Release Date: 8th November, 1974

Labels: EMI/Elektra

Producers: Roy Thomas Baker/Roxy Music

Review:

“One of the great strengths of the album is how all four members find their voices as songwriters, penning hooks that are big, bold, and insistent and crafting them in songs that work as cohesive entities instead of flourishes of ideas. This is evident not just in "Killer Queen" -- the first, best flourishing of Freddie Mercury's vaudevillian camp -- but also on the pummeling "Stone Cold Crazy," a frenzied piece of jagged metal that's all the more exciting because it has a real melodic hook. Those hooks are threaded throughout the record, on both the ballads and the other rockers, but it isn't just that this is poppier, it's that they're able to execute their drama with flair and style. There are still references to mystical worlds ("Lily of the Valley," "In the Lap of Gods") but the fantasy does not overwhelm as it did on the first two records; the theatricality is now wielded on everyday affairs, which ironically makes them sound larger than life. And this sense of scale, combined with the heavy guitars, pop hooks, and theatrical style, marks the true unveiling of Queen, making Sheer Heart Attack as the moment where they truly came into their own" – AllMusic

Standout Cut: Killer Queen

Stream/Download: Brighton Rock/Lily of the Valley/In the Lap of the Gods

Randy Newman – Good Old Boys

Release Date: 10th September, 1974

Label: Reprise

Producers: Lenny Waronker/Russ Titelman

Review:

“Perhaps, in another universe, he might have remained more at the center of the pop songwriting world, whether or not he was singing on the records (his voice had always been a hard one to sell). But his compulsions forced him elsewhere. “I like to know what makes people tick, what their mothers and father were,” Newman told journalist Paul Zollo. “Why they talk the way they do, using this sort of word or that sort of word. What it all means.” Randy Newman, in that search for meaning, became the king of the unreliable narrator in American popular music, and one of rock’s greatest lyricists full-stop. But part of earning the distinction involved venturing into dark corners, and inhabiting them for a while; in his Good Old Boys review for Rolling Stone, Stephen Davis would use this logic to diagnose Newman as deeply “troubled.” It was a dirty job, and certainly, no one had to do it. It was usually thankless and almost always alienating. But it also yielded one of the best singer-songwriter albums of the 1970s, which remains as shocking, pristine, and regrettably relevant as the day it was released" – Pitchfork  

Standout Cut: Birmingham

Stream/Download: Rednecks/Guilty/Naked Man

Steely Dan – Pretzel Logic

Release Date: 20th February, 1974

Labels: ABC/Probe

Producer: Gary Katz

Review:

“Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay. Listen to how the album's hit single, "Rikki Don't Lose That Number," opens with a syncopated piano line that evolves into a graceful pop melody, or how the title track winds from a blues to a jazzy chorus -- Becker and Fagen's craft has become seamless while remaining idiosyncratic and thrillingly accessible. Since the songs are now paramount, it makes sense that Pretzel Logic is less of a band-oriented album than Countdown to Ecstasy, yet it is the richest album in their catalog, one where the backhanded Dylan tribute "Barrytown" can sit comfortably next to the gorgeous "Any Major Dude Will Tell You." Steely Dan made more accomplished albums than Pretzel Logic, but they never made a better one" – AllMusic   

Standout Cut: Rikki Don’t Lose That Number

Stream/Download: Night by Night/Any Major Dude Will Tell You/Pretzel Logic

Stevie Wonder – Fulfillingness’ First Finale

Release Date: 22nd July, 1974

Label: Tamla

Producers: Stevie Wonder/Robert Margouleff/Malcolm Cecil

Review:

“As before, Fulfillingness' First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; "Too Shy to Say" can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie's preaching on "You Haven't Done Nothin'." It's also very refreshing to hear more songs devoted to the many and varied stages of romance, among them "It Ain't No Use," "Too Shy to Say," "Please Don't Go." The only element lacking here, in comparison to the rest of his string of brilliant early-'70s records, is a clear focus; Fulfillingness' First Finale is more a collection of excellent songs than an excellent album" – AllMusic    

Standout Cut: You Haven’t Done Nothin’

Stream/Download: Too Shy to Say/It Ain’t No Use/Please Don’t Go

Eric Clapton – 461 Ocean Boulevard

Release Date: July, 1974

Label: RSO

Producer: Tom Dowd

Review:

“The Clapton original “Let It Grow” may be the true highlight of the album, featuring a mixture of acoustic and electric guitars under more very somber vocals, perhaps the quietest Clapton sings on this quiet album. This base hippie folk song about “planting love” builds in tenacity and mood with acoustic, electric, piano, organ, ever so creeping to prominence. A short but potent slide guitar leads to an intense outro with a picked electric pattern and subtle, swelling keyboards by Dick Sims. “Steady Rollin’ Man” is a piano and clavichord driven rendition of a Robert Johnson Tune with good bass by Radle. The ending song “Mainline Florida” was written by Terry and feels like the most rock-oriented song on the album, featuring a great seventies rock guitar riff and a wild lead over the vocals later in the song.

461 Ocean Boulevard topped the charts in the USA and Canada and reached the top ten in several other countries. While this was his only album in four years, Clapton got much more prolific and released four studio albums over the next four years, all of which pretty much follow the same style patterns as this one" – Classic Rock      

Standout Cut: Motherless Children

Stream/Download: Get Ready/I Shot the Sheriff/Let It Grow

Leonard Cohen – New Skin for the Old Ceremony

Release Date: 11th August, 1974

Label: Columbia

Producers: Leonard Cohen/John Lissauer

Review:

“The fact that Cohen does more real singing on this album can be seen as both a blessing and a curse -- while his voice sounds more strained, the songs are delivered with more passion than usual. Furthermore, he has background vocalists including Janis Ian that add significantly to create a fuller sound. It is no surprise, however, that he generally uses simple song structures to draw attention to the words ("Who By Fire"). The lyrics are filled with abstract yet vivid images, and the album primarily uses the metaphor of love and relationships as battlegrounds ("There Is a War," "Field Commander Cohen"). Cohen is clearly singing from the heart, and he chronicles his relationship with Janis Joplin in "Chelsea Hotel No. 2." This is one of his best albums, although new listeners should start with Songs of Leonard Cohen" – AllMusic    

Standout Cut: Chelsea Hotel #2

Stream/Download: Is This What You Wanted/Field Commander Cohen/A Singer Must Die

New York Dolls – Too Much Too Soon

Release Date: 10th May, 1974

Label: Mercury

Producer: Shadow Morton

Review:

“To help bestow a modicum of spiritual contentment on those born too late to have seen their original incarnation, the New York Dolls released two perfect albums in August 1973 and May 1974. The second ranks second because the greatest David Johansen originals are on the debut--only the climactic "Human Being" achieves the philosophical weight of "Personality Crisis" or "Trash." But if any band today shopped hooks as sure and lyrics as smart as those of "Who Are the Mystery Girls?" "Puss 'n' Boots" or guitarist Johnny Thunders' "Chatterbox," the Strokes would buy a boutique and retire. And the covers are magnificent: a Sonny Boy Williamson song that turns the Chicago blues master into a campy scold, and two R&B novelties whose theatrical potential was barely noticed until the Dolls penetrated their holy essence" – Blender

Standout Cut: Stranded in the Jungle                                                

Stream/Download: Babylon/It’s Too Late/Bad Detective

LaBelle – Nightbirds

Release Date: 13th September, 1974

Label: Epic

Producer: Allan Toussaint

Review:

“The band broke loose from the decorous girl-group tradition on Nightbirds and redefined sexual relations using the terms of R&B and its debt to gospel as metaphors for a larger cultural move. “Somebody Somewhere” confronts female indecision, hints that God might be the answer, but finds salvation in the arrangement — blaring horns and a New Orleans strut. “Are You Lonely?” is nouveau urban funk made stately by Toussaint’s marching piano and gritty by impatient bass arabesques. When claiming empowerment — cultural, sexual and spiritual — the band is fiercely engaged, responding in kind to the raucous percussion of “What Can I Do for You?” and forgoing its gospel unison to swoosh in sisterly harmony on the repetitive, hymnlike “It Took a Long Time.” Toussaint’s compositions bristle with suggestiveness: “Don’t Bring Me Down” is sly, stop-start R&B, showcasing Patti at her sassiest and most elastic. The poignant “All Girl Band” stumps along cheerily, pretending it’s not about the quotidian struggle of being young, female and relentlessly hopeful. By 1974, black had been beautiful for almost a decade; the astrofunk goddesses of Labelle made it chic" – Rolling Stone

Standout Cut: Lady Marmalade                                                          

Stream/Download: Are You Lonely?/It Took a Long Time/Nightbird

FEATURE: Bartering Lines: The Fall from Grace of Ryan Adams

FEATURE:

 

 

Bartering Lines

IN THIS PHOTO: Ryan Adams photoed in New York on 17th September 2015/PHOTO CREDIT: Dan Hallman/Invision/AP file  

The Fall from Grace of Ryan Adams

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I would like to say 2019 will unveil fewer...

 IMAGE CREDIT: Spotify

cases where male artists are in the news for the wrong reason. The problem only exists with male artists and I am talking about them taking things too far; being accused of sexual misconduct, inappropriateness and bad behaviour. In so many cases the allegations are so serious you have to wonder why they are still allowed to continue making music. There have been high-profile cases of artists being accused – including R. Kelly – and it is always harrowing and upsetting to see. The latest musician who has coming under fire is Ryan Adams. I know his music fairly well and love his albums such as Gold and Heartbreaker. His talent is undeniable and his consistency is strong. His previous record, Prisoner, was released in 2017 but there has been other material brewing – most of his plans in that regard have now been cancelled. Few outside of Adams’ circle would have expected to hear the news that is circulating regarding his actions. To make things clearer, Vox reported the story on Thursday:

“Musician Ryan Adams is the latest powerful man to be accused of sexual misconduct in the #MeToo era. In a new New York Times report, multiple women — including Adams’s ex-wife, the singer and actress Mandy Moore — say that Adams dangled professional opportunities in front of them and then used those opportunities to manipulate them into sex. In the relationships that ensued, these women say, Adams would become controlling and emotionally abusive. “Music was a point of control for him,” says Moore.

IN THIS PHOTO: Mandy Moore/PHOTO CREDIT: Jeff Kravitz/FilmMagic/Getty Images  

In a Twitter thread, Adams characterized the accusations against him as “upsettingly inaccurate,” saying, “Some of its details are misrepresented; some are exaggerated; some are outright false.”

According to the Times article, Adams follows a pattern. He reportedly approaches aspiring young musicians and “love bombs” them, telling them they are brilliant and talented and that he would like to work with them. Usually, the women are at the beginning of their careers, and often they are very young; one woman whom the Times identifies as Ava says she was 14 when Adams first approached her online. “I was really alone,” Ava told the Times, “and he was really friendly and cool”.

I have seen a few reports relating to various male artists and it always gives me an uneasy feeling. I do wonder why they feel they can behave this way and whether this impression remains: the big star with all the power feeling they can act any way they want with a woman because they are famous. I think there is still a small sector (of male artists) who abuse their power and think, just because they are popular and move people with their music, there are no rules in everyday life. We have to ask, with yet another high-profile musician in the spotlight, whether something needs to be done. The repercussions for Adams will be severe. The backlash has already started.

This article responds to reports Adams’ forthcoming album, Big Colors, has been held back following investigation by the FBI into his actions:

“The release of Ryan Adams’s new album Big Colors has been shelved following accusations that the singer behaved abusively towards an underage girl.

According to the New York Times, the FBI is now investigating claims that he sent more than 3,000 text messages to the girl over a nine-month period starting in late 2014, when she was 15.

The 44-year-old singer-songwriter from North Carolina had planned to release three albums this year, with Big Colors due on April 19th.

Variety reports that Universal Music Group, which distributes Adams’ releases, has pulled the album from its schedule, and the website for Adams’ own label, Pax-Am, has deleted the pre-order pages for the new album”.

I think the effects and snowball will continue to remove Adams from the market. One wonders, like R. Kelly, whether fans will buy his music or whether he will be allowed to release an album. We have heard a score of albums from Adams and few were interpreting them in any other way bar an innocent sense. Now, amid these allegations, people will scrutinise and wonder whether there was ulterior meaning and intent. Any new record will be poured over and picked apart; people looking to see whether messages of sexual desire are aimed at the women/girls described in testimonies and reports.

PHOTO CREDIT: Jason LaVeris/Getty  

There is, as I intimated, this idea that male stars with a big following feel they are entitled to act as they please and have this insulation of protection and fame. Laura Snapes, in The Guardian provided her experiences and related a dark truth: the case of Ryan Adams is the tip of a fairly large iceberg:

“The concept of male genius insulates against all manner of sin. Bad behaviour can be blamed on his prerequisite troubled past. His trademark sensitivity offers plausible deniability when he is accused of less-than-sensitive behaviour. His complexity underpins his so-called genius. As I wrote for this paper in 2015: “Male misogynist acts are examined for nuance and defended as traits of ‘difficult’ artists, [while] women and those who call them out are treated as hysterics who don’t understand art.” This was after, in response to an interview request, Sun Kil Moon’s Mark Kozelek told a crowd that I was a “bitch” who wanted to have his babies. Note, too, how many female geniuses are dismissed as divas, their art depicted as a symptom of disorder, their responses to mistreatment and calls for respect characterised as proof of an irrational nature”.

There are those who have met Adams and claim that there were suspicions; there were signs that he was abusing his power and acting inappropriately towards women. The New York Times talked about women coming forward relating their experiences; how Adams operated and how he managed to use his lure and status to take advantage of women:

“Some now say that Adams’s rock-star patronage masked a darker reality. In interviews, seven women and more than a dozen associates described a pattern of manipulative behavior in which Adams dangled career opportunities while simultaneously pursuing female artists for sex...

 

In some cases, they said, he would turn domineering and vengeful, jerking away his offers of support when spurned, and subjecting women to emotional and verbal abuse, and harassment in texts and on social media. The accounts have been corroborated by family members or friends who were present at the time, as well as by correspondence from Adams reviewed by The New York Times.

The music world, in which a culture of late nights and boundary-pushing behavior has been normalized, hasn’t been as roiled by the #MeToo movement as other sectors of media and entertainment. But many in the business say that harassment and inequitable treatment of women is pervasive and that the “sex, drugs and rock ’n’ roll” ethos has shielded men from being held to account.

Other women in music said they, too, were subjected to Adams’s intense flattery and a bait and switch in which professional opportunities would be commingled with sexual come-ons.

The musician Phoebe Bridgers was 20 when Adams invited her to the Pax-Am studio one night in fall 2014. “There was a mythology around him,” she said. “It seemed like he had the power to propel people forward”.

I do hope we do not see other incidences of men in music being called up because of their behaviour towards women. I am shocked by what I am reading about Ryan Adams and there are likely to be more details in the coming days. You do wonder what will become of his recording career.

The once-celebrated songwriter has inspired scores of new artists but you wonder whether Adams will be able to record again and release his material. Nobody can stop him doing that but there has been a definite fall from grace. It is hard to know whether his music should remain on streaming sites or removed. Certainly, the future is clear: the American artist will not enjoy the opportunities and (positive) attention he once did. Many will still stream and buy his records but many will turn away and banish his music. I have heard many of his albums and there is this uneasy aftertaste now. Pitchfork published a piece that highlighted a good point regarding men in music.

“Every time another headline pops up about how women are underrepresented on the charts or in music production or missing from festival lineups, we should think about the countless gatekeepers who, instead of helping women, used their positions for sexual gain at the expense of their targets. This casual abuse of power is the norm in music, a grey area unlikely to be dealt with by a male-dominated industry still just wading into #MeToo. But the Ryan Adams account is a necessary reminder that this is what many women deal with, at one point or another, in pursuit their dreams. The more often these difficult stories are told, the less abusers can hide behind feigned ignorance and weak, deflective apologies”.

There are a lot of discussions to be had following the Ryan Adams revelations. I think there needs to be some sort of moderation to ensure we do not continue to see big male artists exposed and accused. Maybe there is this never-ending myth regarding the male artist and this sort of lurid fantasy – that they could get away with anything and do what they please. The artists accused can defend themselves and make excuses but I do not think there is anywhere to hide or any excuse they can make. It is 2019 and we cannot continue to see women/girls controlled and abused by male musicians. What happens next regarding Ryan Adams? I think his music career will continue but he will definitely not be afforded the platforms and radioplay he is used to. I am not sure how many accusations come through but I am pretty sure we have not seen the end of them. Let’s hope Adams’ predicament sends a message to other male artists out there. Maybe we will never see the end of the darker and more sworded side of the industry but let’s hope there will not be another case where an established artist does what Ryan Adams has done (or been accused of). Adams’ career will suffer but the real victims are the women who have been hurt by him. They are the ones whose voices need to be heard to ensure we do not see anything as troubling...

 PHOTO CREDIT: Reuters

AS this again.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: SASAMI/PHOTO CREDIT: @abaxley  

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

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AS things start to warm up a bit...

 IN THIS PHOTO: Roses Gabor/PHOTO CREDIT: Francesca Allen

many are thinking of spring and wondering how long it will be until we get constant daily temperatures in double digits. I have assembled some new songs together that will get the temperature rising and creates that balance between winter and spring. Here are some great female-led songs that have incredible life, depth and colour. It is always wonderful unearthing the best female artists from the underground and seeing what is about. From Pop solo artists to female-led bands, this is a fantastic playlist that you should keep with you. Have a good listen to these tracks and discover what quality there is out there right now. If you are starting your weekend and are in need of a boost and some motivation, I have the tracks that will...

 IN THIS PHOTO: Cat Clyde

SURELY do the job.

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

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Kelsey Bulkin – Kareem

Szjerdene – Restart

Ehlie Luna – Don’t

PHOTO CREDIT: @abaxley

SASAMI – Jealousy

YONAKA – Bad Company

Roses Gabor – Turkish Delight

PHOTO CREDIT: @sophie.kutay.photography 

Polina Grace – Pure Fire

Molly Marrs – All of Me

The Regrettes – Pumpkin

Jasmine Thompson – loyal

PHOTO CREDIT: Charlie Woodward

Saltwater Sun - Blood

Girl Crush - Baby Steps

Hannah Jane Lewis – Last Night Every Night

Eve Belle (ft. Isaiah Dreads) - CutThroat

Grace Acladna – When I Saw You

LUENA – Worth It

ALMA – Summer

Sharna Bass – This View         

Cherry Pickles – It Will All End in Tears

Fever High – Just a Ghost

Cat Clyde – All the Black

SADSUN – Control

Mags on Earth – Comeback

PHOTO CREDIT: Paul Hunt 

Manu Grace – Saturday Night

Leah Nobel – Steps

Ariela Jacobs – Missing You

FEATURE: The February Playlist: Vol. 3: I Adore You Cuz I Love You

FEATURE:

 

The February Playlist

IN THIS PHOTO: Jessie Ware 

Vol. 3: I Adore You Cuz I Love You

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THIS is one of those weeks where there is…

 IN THIS PHOTO: Alicia Keys

so much greatness to be found it is hard to take it all in! Not only are there new tracks from Jessie Ware and Lizzo but there is material from Alicia Keys, Kacey Musgraves; Julia Jacklin and Weezer. Throw into the blend some songs from Anteros, John Legend and St. Vincent and there is more than enough to get stuck into! The weather is getting better and brighter and I think these tracks are really great to kickstart things and get you into the groove. I am excited to see what comes next week and whether we can top this selection! It is another titanic and high-quality variety of songs from some of the biggest artists around. Make sure you have a good listen to the tracks and make your weekend a winner. It is a brilliant week for music and one that shows 2019 is definitely going to be…

 IN THIS PHOTO: Julia Jacklin

FULL of gold!  

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

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Jessie Ware – Adore You

Lizzo – Cuz I Love You

Julia Jacklin – Comfort

IN THIS PHOTO: Avril Lavigne

Avril Lavigne (ft. Nicki Minaj) – Dumb Blonde

PHOTO CREDIT: David McClister

Kacey Musgraves – Rainbow

Alicia Keys – Raise a Man

Weezer – Take on Me

Cloud Nothings – So Right So Clean

PHOTO CREDIT: Phil Smithies for CLASH

Sea Girls – Open Up Your Head

Sundara Karma – Higher States

Anteros – Drive On

Kodak Black – Transgression

St. Vincent – Masseducation

Ciara – Greatest Love

ALMA – Summer

Bebe Rexha – Last Hurrah

Cardi B & Bruno Mars – Please Me

John Legend – Preach

Kehlani – Butterfly

Maisie Peters – Stay Young

Crystal Fighters – Wild Ones

Foals – On the Luna

Hozier – Dinner & Diatribes

SG Lewis – Blue

Betty Who – Marry Me

Ladytron – The Animals

Catfish and the Bottlemen – Fluctuate

Rex Orange County – New House

Bryan Adams – That’s How Strong Our Love Is

Jenny Lewis – Heads Gonna Roll

YONAKA – Bad Company

The Cinematic Orchestra – A Promise

Mae Muller – Leave It Out

TRACK REVIEW: Lizzo - Cuz I Love You

TRACK REVIEW:

 

Lizzo

Cuz I Love You

9.7/10

The track, Cuz I Love You, is available via:

https://open.spotify.com/track/1R1NwL3p27XZC9n5xpP8LE?si=68_EDDV8QIS2q9OxcEJB2Q

ORIGIN:

Minnesota, U.S.A.

GENRE:

Pop

RELEASE DATE:

14th February, 2019

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THE reason I have selected Lizzo...

and not gone for someone less-well-known is because, well, the requests I am getting are all very similar and there is not a lot to differentiate the artists. That might sound cruel but there is more variation and choice outside of the underground. I can pick a track I really want to go after and know there is a lot of new stuff to talk about. In the case of Lizzo, I want to talk about female artists who have spark and can be considered headline, leading acts; those that raise important issues and powerful messages through their songwriting; adding a sense of fun and vitality back into Pop music; whether newer acts like Lizzo can complete and equal the icons of the past – I will end with a little but about why Lizzo stands aside and how she is unique. For now, I wanted to chat about Lizzo because she is someone who always gives her all to the music! Look through her previous albums and you can hear someone who has come a long way but, right from the start, she was producing these bangers that got into the head and made the body pop. She is one of these artists who wants to have fun and show some sass but deliver a potent message at the same time. Lizzobangers arrived in 2013 and instantly set out her stall: a record packed with big songs that had confidence and her special D.N.A. I love that album and instantly bonded with it. I think we look out at the mainstream and assume artists there must be good and memorable because they have made it that far. What I find is that there is this division between those who are genuinely great and worthy and many who have an overly-commercial and tired sound – appealing because their audience do not really have the imagination to look elsewhere. It is necessary to look through those at the top of music and listen closely.

 PHOTO CREDIT: @gaytimesmag

Lizzo is an artist who has been playing for a little while now but is growing and adding new elements to her sound. I think she is special when it comes to the fizzing and body-moving jams that have ounces of confidence and energy. There are not that many artists in Pop who have positivity in their bones and continue to stamp out these classics. The past few months has seen Lizzo cut these great gems that are instantly addictive and exciting. I think music needs more artists like Lizzo and we need to embrace this type of music. Listen to everything else out there and can one truly say there is anyone else like Lizzo around? Cuz I Love You is not as fiery as some of her other songs but it has so much working away and is a brilliant thing. I only discovered Lizzo a few years after her debut in 2013 and am glad I did. I wanted to highlight her today because, whilst she is popular and known, there are some who do not know her music. If you are unfamiliar with Lizzo and wonder whether she is worth exploration then I would say her main assets are the energy, the big hooks and the lyrics. She has a fantastic voice but her words stand out and truly shine. I wonder whether many consider Lizzo too new to be a festival headliner. She has been going a little bit now so I am not sure why festivals are not lining up. You want these artists who can get people moving and have some great songs in their locker. Lizzo fits the criteria and I can easily see her on a headline stage getting the crowds whipped up and singing along. Lizzo’s songs have that anthemic quality and will endure for many years to come. I think, maybe next year, we will see Lizzo headlining and it is about time really – as she already has proven herself and should be getting those bookings.

I think it is rare to see artists around that have genuine spark and physicality. So much modern Pop is quite muted and does not have the same spirit as it did back in the 1980s and 1990s. I mention this point a lot but I see no reason why Pop has sort of turned in on itself and gone a bit soft. It is still good but does not have the same attack as the classics. Lizzo is part of the new generation who knows how important it is to have movement and something fun in the music. I wanted to talk about Lizzo because of her energy and memorability but I love what she talks about and how she approaches things. In the press, she has chatted about body confidence and how proud she is of her curves. I feel there is a bit of hesitancy from some quarters to raise these kinds of issues but Lizzo is proud of her body and it is brought into her music. I do love how Lizzo speaks her mind and she is not afraid to be bold and controversial. She is a very real person and talks about sex and love in a fresh way. Songs like Juice are filled with great lines and expressions that you would not get from any other artist. Lizzo has brought body issues and confidence into her music and discussed gender inequality; she has spoken about big themes and is not afraid to tackle them. We need more artists who are actually using music and the press as a way of getting big messages out there and doing something different. Think about most of the popular artists around and do they honestly have something about them that stands aside?! Maybe they have a slight edge but Lizzo seems to be in her own field. One discovers this very fine and accomplished artist but the woman behind the songs is remarkably open, funny and interesting. This all leads to a complete package and, going back to my headliner point...why isn’t Lizzo on top of festival bills?!

I am not saying others neglect important topics when they write songs but Lizzo, regarding body and sex appeal, is shining a light and, as a larger woman, is inspiring many others. There is this notion and ideal that female artists need to be super-slim to be seen as popular, attractive and commercial. If they were to stray from this mould then that could see them outcast and they are not exactly what you want to see on the cover of magazines. I feel this mindset has eased through the years but there is still, on magazines and in videos, this desired type and look that has always been in music. Maybe female artists will always be marketed based on their looks but I’d like to think artists such as Lizzo are making changes and helping to turn the tide. I think so many people are afraid of getting into music because they feel they are not the right size or look. Most mainstream female artists are of a certain size and shape and I think many have been denied an access to the top because they do not conform. Lizzo is someone who is never going to change – and why should she! – and, instead, is delivering these big songs that show all her curves and truths. In the media, Lizzo is keen to break misconceptions and tackle those who think women should look a certain way. She has spoken about sexism and L.G.B.T.Q.I.A. concerns and, at various moments, addressed sex and love in a very fresh and personal way. There are few out there who have as much personality and appeal as Lizzo. I wanted to focus on her because of how inspiring she is and how that will continue. I will move to another subject now but think about all the big artists around and can you say there is anyone as standout and grand as Lizzo? It is hard to think of anyone and, for that reason, she deserves all the attention and acclaim in the world.

I have already mentioned it before but I think Pop music has somewhat got gloomy and a bit ordinary. That is not common to everyone but most of the scene has changed radically through the decades. There are some great Pop artists who have proper swagger and big tunes but most modern stuff is quite personal, unmemorable and safe. I do wonder why artists are not really spreading their wings and why there has to be this sound. By that, can you really compare the best Pop music of the 1960s-1990s and feel this is still being done today? It is not hard to produce great music that has energy and catchiness but most are choosing not to play this way. I hope there is a shift and we get to see Pop music return to its roots. At the very least, I think other artists should look at Lizzo and see the affect she is having. Her songs get into the blood and they are so much fun! That is what we need right now and, more and more, artists are choosing to be too personal and lack that killer punch. It might just be a phase but I think the mainstream has been in a bit of a state for the past decade at the very least. We do not have the same quality as we did in the 2000s and it does concern me. I will raise this point later this weekend but I have not lost hope Pop will bring some of the fun back! Lizzo is definitely having a great time in music and not willing to change who she is to fit in. I do feel there is a lot of pressure for artists to sound the same or not wander too far from the garden path. It is quite sad this is the case but I feel there will be an evolution. Lizzo is a remarkable case of an artist bringing something fresh to the table and providing incredible album after the next.

I will end this piece by talking about her upcoming album but I love how consistent Lizzo is and what she has already produced. There is more to Lizzo than fun and energy but that is a big part of what makes her stand aside. I do love how much energy and force there is in when you listen to her music but Lizzo has a way with words that gets into the brain. There are few tropes and clichés when you hear a Lizzo song! Whether it is the wit and humour or the way Lizzo can fuse unique phrases and create something very alluring...nobody else is doing what Lizzo is. I feel she is someone who will provoke change and shows what can be when you tear up the rules. It makes me wonder, more and more, why there is not more volume in Pop right now. I mean, there are some fantastic tracks and artists but I think so much more could be done. It all comes back to fun and bringing a sense of movement into the mainstream. Maybe it is me being all hung up on the past but I am excited by Lizzo and think she has a real light. Everything she produces sounds amazing and it cannot be long before she is headlining Glastonbury and playing the biggest festivals around. There is a real opportunity right now for musicians to help make a change and inspire the masses. I am seeing more and more acts talk about deeper issues such as political divide and mental-health – this is very positive and encouraging to see. I think this has been long overdue but I feel you can discuss something weighty and potent and still have fun whilst doing so. Lizzo does and I do think this can be reciprocated by her peers. Can this fine American artist, in years to come, reach the giddy heights of ‘icon’ status?!

 PHOTO CREDIT: Linda Nylind for The Guardian

I have talked about the fading icons and why there are not many in modern music right now. By this term, I mean those who reinvent themselves and endure for decades; they have these changing looks and go through changes. I think Lizzo’s career is too young for me to make those sort of bold predictions but I do feel she has the ammunition to become an icon.  If you look at how she has consistently produced great songs that stick in the head and stood you to attention. Lizzo has always been real and true to herself and never compromised what makes her her. She is an inspiring role model and someone who has the same sort of integrity, sass and confidence as Madonna. Maybe Lizzo’s stylistic reinventions are not that big and expressive but she ticks so many boxes. I look around music now and there are some artists who might be around and compelling listeners in decades to come. It is harder to stand out now than it was back then and so much music is disposal and samey. I think, more and more, the days of the icon are numbered and we will never see someone like Prince or Michael Jackson again. That is not to say we will not see someone remain for years and make a big impact on the next generation. Perhaps the terminology has changed and the definition (of an idol) is narrower. To me, Lizzo has all the hallmarks of a future-legend and she has already proven herself. Everything seems to be falling into place and it is only a matter of time before Lizzo is considered a modern-day icon. I am not sure whether that is a contradiction in terms but I think Lizzo stands away from everyone else and is a very promising artist. Maybe I should move onto her latest track, Cuz I Love You, as it sort of brings all of my points together and shows what I am talking about.

There is something almost classic about Lizzo’s latest track. The last thing I – and many other people – heard from her was Juice. That has a very distinct sound and sort of captures you with its colour, catchy chorus and swagger. Listen to Cuz I Love You and the start has Lizzo singing unaccompanied. She is belting out this rather romantic and powerful lyric and then, without much notice, we get this very impassioned and bold compositional explosion. There are horns, percussion and strings that crash like waves and take you by surprise. I love the way the song starts somewhat calm and uncluttered and allows Lizzo to announce the song. It is a great way to kick it off and the heroine talks about being in love. Maybe it has not happened before and, as she attests, it is quite a feeling. I spoke about Lizzo’s songs being very different and it is hard to compare this one with any others. So many artists repeat what they do but here is something that is unlike any other Lizzo song! The words, like all of her songs, have a unique aspect and paint a picture. Here, as the biggest blast calms and she is accompanied by a skipping piano, Lizzo talks about, once, visiting the liquor store and drinking. Maybe there were reckless and wild days and she was in a different place. She seems to have found love now but, before, life was a bit different and she was rolling with a different crowd. This is Lizzo still having a blast and fun but showing a more sensitive and revealing side. The song almost sounds like a classical Soul or Jazz offering. Produced by X Ambassadors, there is this nice shift between the huge and spirited composition – that acts like a heartbeat and provides drama – and Lizzo’s voice. It is not often Lizzo gets to have her voice standout out front and being so emotional.

What one discovers is how strong her voice is. This has always been the case but this latest offering allows her to go in a different direction. There is so much power and emotion when she talks about crying over her love and being affected. Maybe the lyrics are not as distinct as some of her other songs but, when you are talking about the strength of relationships and a new passion, there is a sense of limitation I guess. Cuz I Love You switches between the Jazz-like belt and the faster-paced and more characterful expressions. Lizzo talks about standing in the rain and getting her hair all wet; maybe having to wait for the man and doing all of this. I do love how Lizzo cuts and strikes some moments and can turn into this hugely soulful singer the next. It seems like the heroine has found this new lease but has had to make some changes in her life. It seems like this romance has been blossoming but not always smooth. Lizzo talks about this person being hidden away and on the down-low but now, after some realisation, she wants to put them on a plane and take them to her shows. I am not sure whether there was some friction before or whether her sweetheart was a bit troublesome. In any case, things have got to this stage and Lizzo is realising she has feelings. She did not know she cared so much and, when the chorus comes back, she lets all the feelings out. I do love, as I keep saying, how the song switches and the potency of the chorus. You try and compare it to another song – the chorus does have that classic sound – and fall in love with the vocals. In many Lizzo songs, she is singing quite fast-paced and you never get to hear her singing in a more direct and impassioned manner.

The addition of the horns and percussion gives plenty of stamp and rouse and perfectly backs her vocal. The heroine has struggled to make a connection before and not found it easy to be in love. There are moments when Lizzo hits really high notes and extends her range all over the place! When belting out and really letting her voice open, you get hints of Aretha Franklin and some of the most powerful singers ever. Cuz I Love You is such a hugely powerful record and you wonder whether it could extend for another minute or so. One gets hooked on that switch between the fast and edgier verses and this very different chorus. One will listen to the song the first time and it is quite hard to take everything in and get to grips. You are amazed and blown away so go back and listen a few more times. There are a few writers on this track – including Maroon 5’s Adam Levine – but it is Lizzo’s amazing and towering central performance that makes the song so masterful. It is impossible to listen to the song and not be moved and amazed. I believe the title cut is the opening track for Cuz I Love You – although don’t quote me on that! – and, if that is true, it will be one of the most impressive lead-off tracks in recent memory! The fact Lizzo, between this song and Juice, has shown so much variety and quality means very few will be able to refute her brilliance. Ensure you dive into he brilliant waters of Cuz I Love You and discover this wonderful song. You will need a few listens for the track to truly sink in and work its magic because, as I found, the first listen is so intense and you are not prepared for what comes! Lizzo has shown she is one of the most flexible, impressive and original artists around and this is why I think she will be around for many decades more.

Cuz I Love You is out on 19th April and is the third studio album from Lizzo. It is her first album in four years and the singles released so far are amazing. There is a bit of speculation regarding the tracks that will appear on the album and what it will sound like. Juice gave us a taste of what we might expect and now, with the title offering in the world, there is another piece of the puzzle. I am excited to see what is coming and what Cuz I Love You will sound like. There are various writers and producers who work with Lizzo but I do not think that gets in the way of her music and personality. You can be a great artist and leader and have others working on the music. Lizzo has always worked this way and, at the end of the day, it is her voice that stands out. She is the most important and dynamic part of the mix and the person who makes the music come alive! Maybe it is too reductive and simplistic calling Lizzo’s music ‘Pop’. It has so many different aspects to it and is very different to everything else around. I do love how Lizzo keeps her social media updated and she is always communication with fans and letting us into her world. It gives a great impression of who she is and what makes her tick. There are a lot of big artists who are quite reserved and insular and, whilst that is cool, you never get a real sense of who they are. Maybe music is meant to provide the real commentary but Lizzo knows, in this day and age, you need to be more active on social media and that fan relationship is very important. I will end things pretty soon but I have been looking around music and asking whether people performing today will be remembered in decades to come.

It is very hard to tell but you can think of a few who definitely will be. I think Lizzo will continue to produce albums and she will headline festivals before long. Like powerful female artists such as Beyoncé, Alicia Keys and Aretha Franklin – that might sound random but they have some shared aspects – Lizzo has a unique sound and personality that goes into everything she does; a real confidence and need to be true in interviews; an urge to change music and make a difference in the world. With Lizzo, you have someone who is a bit cheeky and fun and that adds to the sense of wonder and infectiousness. It has been great breaking from my unusual routine and writing about a bigger artist. I do miss that side of things but the main reason I wanted to do this was to bring Lizzo to more people. She has big fan numbers but so many of her followers are female. I do not think her music is reserved to women and, in fact, it is much more eclectic, broad and open than anything out there. When all is said and done, Lizzo wants to bring fun to the party and she likes to shake it! Keep an ear out when it comes to tour dates and see if she is heading your way. I know there will be promotion around the release of her upcoming album and a chance to catch her very soon. Cuz I Love You is a wonderful track and brings new elements into Lizzo’s music. She is always growing and getting more confident as a performer. I think this will continue and, before too long, she will be one of the biggest artists on the planet. It is the way Lizzo brings all her energy and life to every song that makes them stick in the brain and remain in the heart. If you have not experienced the wonder and vitality of Lizzo then make sure you rectify this. Cuz I Love You is a brilliant track to start with and lays out all of Lizzo’s assets and qualities. It has been great reviewing the song and, when the album comes out in April, I will be...

PHOTO CREDIT: Atlantic Records

REVIEWING that too!

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Follow Lizzo

Official:

https://www.lizzomusic.com/cuziloveyou/?ref=Typed/Bookmarked

Twitter:

https://twitter.com/lizzo

Facebook:

https://www.facebook.com/LizzoMusic/

Spotify:

https://open.spotify.com/artist/56oDRnqbIiwx4mymNEv7dS

SoundCloud:

https://soundcloud.com/lizzomusic

YouTube:

https://www.youtube.com/user/Lizz0plusLarvaInk

Instagram:

https://www.instagram.com/lizzobeeating/

PHOTOS (unless credited otherwise):

Getty Images

INTERVIEW: Rivah Jordan

INTERVIEW:

PHOTO CREDIT: Roxanne Haynes

Rivah Jordan

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THE captivating and charismatic Rivah Jordan...

has been telling me about his musical tastes and his particular sound; what the story behind his new track, Shoebox, is; whether there is going to be more coming from him and what sort of influences go into his arsenal.

Rivah Jordan talks about the challenges he has faced in life and his philosophy; what sort of music captured him young; whether there are any rising artists to look out for – he picks a great song to end the interview with.

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

Oh, man. Today, I’m trying to bend with the breeze like a tree, for my week has been character building to say the least. I like to think I’m dealing with it well. Thanks for having me, I appreciate it.

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

I’m the guy that effortlessly goes from Sean Paul to Skepta in six seconds...Rivah Jordan, the big artist with the big label in London, Sound Killaz Music. I’m a bit of an advocate for mental-health awareness and financial education. I write my own songs, make my own music; mix and master, will do my own artwork and shoot my own video if necessary and can and will do those things for other people. I’m a handsome, tall; light-skinned guy with dreadlocks and streaks of grey. I’m an entrepreneur and an educator. I’ll give you food. What more can I say?

Shoebox is your new track. Is there a background to the track?          

There most certainly is. It’s like the background music to my life. Call my line-up when you’re tripping, please don’t do that…I have to set boundaries every day; manage expectations, keep my business running which allows me to continue to live and grow; make music and stack the pinky in the shoebox. It’s a delicate balance.

I have to count up my blessings when unexpected expenses jump up on me as I can now afford them mostly. I can drop a rack (£1000) or stack some money, it’s kinda calm now. That hasn’t always been my position: I remember it taking me almost three years to save £1000. Nipsey Hussle said “That’s why they follow me, they think I know the way”.

I can feel a lot of people gravitating towards my energy. I really want to share something of value with them. I think Shoebox is the beginning, the first lesson; ALWAYS PAY YOURSELF FIRST. You pay the bills, the bank; the car loan, everybody else. Start loving yourself, start paying yourself; start saving. You’re worth it, you deserve it. I LOVE YOU!

Might we see more material coming out this year?

I have a single called P.I.C. (Partner in Crime) ready. The song is finished. I have a remix or two; artwork is ready. I just need to finalise a mix and master. I’m late for Valentine’s, I’ve accepted it. I’m still coming with it, though. I have ten-twenty songs and am still creating so I want to finish up an album for this year. I have singles I produced by Prezident Brown and Cookie the Herbalist.

I recently mastered an E.P. for my brother Matthew Radics. I have an album of Dubs or Instrumental Reggae versions of original songs. I’m ambitious. I’m trying to get busy. I’d be really disappointed with myself if you didn’t see more material this year, let’s put it that way.

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

My father is Jack Radics (Google Twist and Shout (Jack Radics with Chaka Demus & Pliers - it’s fun!). With him being a musician, I think it’s appropriate for me to carry on the tradition. I was in studios, just being fascinated by the equipment and the lights from before I had any idea of the relevance of those experiences. I grew up in Jamaica so, as a child, it was popular artists in the dancehall from the late-'80s and early-'90s such as Bounty Killa, Shabba; Buju Banton and Beenie Man. Moving to the U.K. and getting into Hip Hop, I was a massive 2Pac fan.

I think it was 2Pac lyrics my friend heard me reciting that got him excited about me rapping. He was convinced I’d be great at it: I had no idea what he was talking about at the time.

I love your style and the way you bring Trap music to new heights. Does that blend of Trap and Reggae come very naturally?

Thank you (smiles). I think it does come quite naturally. I often compare music with cooking and it’s about a meeting of styles and flavours. The dynamic of the population and the motto of Jamaica is ‘out of many, one people’. The cultural explosion coming from that place is the result of the diversity. We like it, we take it; we make it our own. We turn our hands and make fashion. We continue to compile all that has come before us and is around us into new and original stuff be it from Reggae, to toasting; to rapping, to Hip-Hop; to Dub, to Jungle; to EDM and beyond and then a little bit further.

Trap is just one of the things I blend with Reggae but I think my superpower is turning everything into Reggae. Hahaha. First, I like to understand rules; then it’s about bending them and pushing their limits with a view of creating a place and sound of my own. I think that’s always my aim.

You have seen troubles and faced challenges in life. Do you think that has impacted your ambitions and why you bonded to music?

That is 100% how it goes. I recently recorded a rapper diagnosed with diabetes. He dropped a line, which was something along the lines of: “I used to think of success as having the newest reg (car registration plate). Now success is about having the use of two of my legs”. Them bars hit me hard. As much as I advocate financial education and financial freedom, they are in my mind; an aspect of mental-health. There are people who have mental-health problems from suffering financial abuse - many people reading this may be unaware something like this exists….

I had no idea it existed either at a time or that I was being subjected to that kind of abuse. I once thought abuse was only really physical and maybe verbal, just a little. I now understand the scope for being abused is much broader than that...you could be emotionally or psychologically abused - and there is more that I don’t need to get into.

PHOTO CREDIT: Roxanne Haynes

Drill music captivates the frustration of an entire generation and, if you listen to it, it’s really sad; really afraid and really angry. Millennials are trapping out the bando. When I listen to popular radio stations, they aren’t really playing a bunch of new bands like Oasis or Blur like when I moved to the U.K. The fact that the music is changing and the ways in which it’s changing says a lot. Different experiences are being shared; different problems are being solved and addressed.

I think the realignment of your ambitions is natural. I like music with a message, I like music with powerful feelings and emotions but try never to discredit music which I may not perceive as being powerful as it can be a different medicine for a different ailment, from which I do not suffer.

Sometimes, mindless music can be good as it works your mind less and gives it time to rest - that’s valuable too. I remember just wanting to sell drugs and be rich like Dipset. Given the money I actually bought studio equipment though, not chains or clothes. Now, I still want chains and clothes but I’m getting a better understanding of the values I have as a person and the values I want to bring across as a musician. I want to help people, I want to help myself; I want to heal people, I want to heal myself.

I want the platform to show people what they can be, to help people to become more; I want the Bentley for inspirational purposes and the Rolex for motivational use only. Hahaha. I want to help people identify with issues, find solutions and work through them. So, where some aims remain the same, some are completely different.

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

Probably headlining the Montenegro Sun Reggae Festival in 2015. How rotten drunk I got the next night and how I have not arrived at that level of intoxication again since. EXIT Fest in Serbia is always a blast, though and the West Coast of America is crazy.

I have a few…

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

Rivah Jordan - Jah Works (2012, Sound Killaz Music)

My first self-produced and self-released E.P. on my own label. This was really the beginning for Rivah Jordan.

Rivah Jordan - Hustlers World (2015, Sound Killaz Music)

My first self-produced and self-released full-length album on my own label.

Fido Guido - Realtà e Cultura (distributed by Sound Killaz Music)

I think this may be the single-highest-grossing product I have released. I worked on one song and licenced the product for distribution on my label. Eye-opening experience.

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

I’d love to open for the Migos. That’s a show I’d enjoy watching every night.

My rider needs would be water, weed; fruits, nuts and probably something strong/warm to drink if the vocals need warming up. I don’t think we need to talk about per diems, meals; transport, accommodation and all that mandatory stuff.

Right now, I think for a professional it’s all pretty routine.

What advice would you give to new artists coming through?

My Instagram: @RivahJordan. D.M. me, innit (laughs).

If that’s long, just be confident and remember: the music business is 10% music and 90% business. If your music is doing bits, just focus on improving your business. If your music isn’t doing bits, just focus on improving your business. D.M. me, tho, for real. It’s love.

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

I think there are going to be loads because promoters are going to be all in my D.M.s offering me money to sing and I’ll be more than willing to do business. They may email soundkillaz@gmail.com to book me. I’ll put my own shows on too when the time is right.

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

I don’t know if there are words to quantify how important live performances are. So, let’s just say it’s of the utmost importance. Imagine asking a footballer how important is it to go out and play games? It’s about the number of appearances, how you well you performed and statistics. Seeing people react to your music or hearing about their reactions is completely different from being in their presence while they are reacting. Crowds let you know what you’re doing wrong or right, where and how to improve.

It’s super-important.

 IN THIS PHOTO: Pharoah

Are there any new artists you recommend we check out?

My brother Matthew Radics, TALAPATON; SABE and Pharoah. That’s pretty much the gang…all on IG. I love Lil Baby, Gunna; Moneybagg Yo and Jacquees and they are some of the artists you’ll catch me listening to.

 IN THIS PHOTO: Lil Baby

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

Getting human contact and interaction, hanging out with friends; socialising. Getting in contact with nature. I love walks and driving down country lanes when I get the chance. I play basketball. I like video games. I read. I run a property management business, an independent label and I’m pursuing a career in music. Sometimes, I just want to sit in silence, smoke a joint and contemplate. Hot baths are great, too.

Downtime is essential though and being self-employed and self-motivated, a lot of the time I need to remind myself downtime is needed; it’s healthy and that it’s ok to have it. I like to embrace downtime when it presents itself.

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).

Play Future - Crushed Up...no, no, no: Meek Mill - Respect the Game or, hold on...try Frostbite (Remix) with Offset and Rich the Kid...or one of them. I don’t know. Thanks for having me. All the best!

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Follow Rivah Jordan

PHOTO CREDIT: Roxanne Haynes

Twitter:

https://twitter.com/RivahJordan

Facebook:

https://www.facebook.com/OfficialRivahJordan

Spotify:

https://open.spotify.com/artist/5rkHv7aDoaFgDmD3j7eCJK?si=mokYOabTTnCI1NDRD-NpzA

SoundCloud:

https://soundcloud.com/rivah-jordan

INTERVIEW: Roman Harris

INTERVIEW:

Roman Harris

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THE fantastic Roman Harris...

has been telling me about his new track, The Smell of Heather, and its unique inspiration; what it was like putting together the video and whether there is more material coming along – he recommends some rising artists to look out for.

I ask how music came to him and whether he has three favourite albums; how he spends time away from music and the advice he would give to emerging artists right now – Harris selects a cool song to end the interview with.

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

Heya. I’m alive, I’m well; I’m grateful to be here, so all is good. It has been a very demanding week but really exciting too - releasing new music is always exciting.

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

Well. I’d have to start with a ‘hello and nice to meet you’. Now that we’ve got that out the way...I’m that fusion of Indie, Folk and R&B that you didn’t know existed but will be truly happy you found.

The Smell of Heather is your latest track. Is there a story attached to the song?

I think many of the best songs ever written have a story attached to them - and The Smell of Heather is no different. I came across a book of poetry called Heather’s Book, written by the poet Vivian Anglin. It was an honest, compassionate and raunchy collection of poetry that told the story of the relationship between a man who wanted to see a woman beat her addiction and a woman whose addiction was forever pulling her away. The first poem in the book was entitled The Smell of Heather and it was this poem that inspired the song. The poem starts:

“The smell of Heather still lingers in my room/She came in a hurry and left too soon”

It’s these lines that form the idea for the chorus of the song. I would definitely encourage people to read this book as much as I would encourage them to listen to the song.

Its video is out. How involved did you get regarding the concept?

Yes, indeed! The video is out now and available to the world on YouTube. The concept was more or less already there, since the song tells a story but the director, Ngadi Vandy, was responsible for bringing it all together and Olucreates was the man behind the camera. They were a great team.

I must also tip my hat to Yana Penrose, Pete Hardingham and Kaid Hussain who were the actors in the video. They were all so fantastic to work with. I gave some artistic guidance here and there but, for the most part, I let the creatives do their thing and they did great

Might there be more material coming later in the year?

I’m glad you asked...

The Smell of Heather is just the start for 2019. I’ll be releasing more material throughout the year with my next single, Get Me Got Me, coming soon. But, for now, it’s all about The Smell of Heather and getting as many ears onto this song as possible.

The Smell of Heather is your debut song. How long were you writing music and experimenting before then?

Oh, wow! I’ve been writing for years now, mostly for other artists. My first break came with a song called Falling produced by Snakehips featuring Malika and released through Sony Music Entertainment. This song opened up a number of doors for me and was followed up by my first featured release entitled Moving Again produced by Cr3on and Marcus and released through PM Recordings in the Netherlands. Although I love writing for other people, it was a burning desire to make a mark with my own music and my own sound. That’s what has led me to where I am now.

You are from Brixton in South London. Do you draw any inspiration from the people and sounds around you?

Brixton is a fantastic part of London. The streets of Brixton are filled with stories and inspiration but I’d be lying if I said it was only Brixton that I drew inspiration from. That area is a major part of my life, my upbringing and my creative world. However, I was also raised for many years in Georgetown, Guyana and have travelled to other parts of the world, including Africa, Australia; America, the Caribbean. The list goes on, so I draw inspiration from everywhere I go; every experience I have and every person that I meet.

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

Music was in my life from as early as I can remember. I would love looking through my parents’ record collection. The artwork was so captivating and there was something so special about vinyl that a whole generation may sadly never understand. Growing up Prince, Guns N’ Roses, Snoop Doggy Dog; Jimi Hendrix, even Alice Cooper were played in my house. But, as far as a favourite artist, that’s easy and for every child I’m sure it was the same…Phil Collins!

Ahhhh, I’m just kidding. Although Phil is a legend, it was Michael Jackson! Thriller! Bad! Come on! I remember the Bad album cover. I would dress all in black and stick clothes pegs on myself to try and recreate the look of the jacket he was wearing.

Oh, the shame!

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

There’s been some really amazing moments thus far but I think my favourite memory in music has been watching a crowd of people vibe to a song that I wrote. Looking at their faces and the joy that they were feeling from hearing it while they were also totally oblivious to the fact that I had anything to do with creating it. Some may say that’s strange but it was that feeling of being on the outside and seeing people genuinely enjoy something, not because they know I had something to do with it but simply because they really love it that much.

That was priceless.

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

8701 – Usher

This album was the soundtrack to my first serious relationship. I was fifteen-years-old and every time I listen to this album it takes me back to those early years of relationship innocence and those feelings surface all over again. It makes me smile.

Parachutes – Coldplay

What a beautiful album. Parachutes was my introduction to Coldplay and there was just something so honest and warm about those songs and the songwriting that I instantly fell in love with their work. It also timestamps a very pivotal period in my life when I’d returned to the U.K. from Guyana and was about embark on a whole new life direction. The title of the album almost fits in with the sentiment. It’s almost as though they were my parachute easing me to a safe landing.

The Battle of Los Angeles – Rage Against the Machine

Sometimes, you meet people and they open up your musical world. I was in a three-piece band once upon a time and the bass player introduced me to R.A.T.M. and this album. Mind Blowing! These guys were amazing; knew how to rock and had such a strong message. One of the best albums ever!

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

I’d absolutely love to support Foy Vance. The guy just makes it all look so effortless, his songs are crafted so beautifully and he holds an audience with such charisma. There’s a lot to learn from a man like that, not to mention he’s Irish and the Irish are amongst my favourite people.

Now, to my rider. This is not going to be very Rock and Roll and also far from diva-ish. I do like healthy eating so loads of water, fruit; salads, red wine and my guilty pleasure: mince pies with double cream.

What advice would you give to new artists coming through?

I’d give this advice to new artists, old artists and those somewhere in-between. Firstly, ‘it’s always too early to quit’. Keeping that dream alive for just one more day may be all you need to see it come to fruition. Secondly, do not let social media rule you. These days nothing can break your will faster than spending ages looking at the lives of others. Thirdly and finally, love to create.

Fall in love over and over again with the buzz of creating something new and try your best to remember why you do this. We’re privileged to be able to make something from nothing. Never forget that and never take it for granted.

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

Watch this space. The best way to do that is to follow me online - for social media it’s @iamromanharris - or keep an eye on my website.

 IN THIS PHOTO: Max Cyrus

Are there any new artists you recommend we check out?

Yes, indeed! Max Cyrus, Mia Pearl; DeeRiginal and MALIKA. I am a genuine fan of all of their work; do give them a follow and keep an eye out for their music in 2019!

 IN THIS PHOTO: MALIKA

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

I think it’s so important to find ways to relax and unwind. It’s the only way that we can come back and bring the best so I always make time for me. Whether that be going to the gym, movies; travelling or just lying in bed all day watching re-runs of The Fresh Prince. I find a way to relax but I always find my way back to doing what I love. Making sweet music.

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).

The song I’d like to choose is called Untitiled by Rodney P featuring Lanre Sulola and produced by Max Cyrus Music. It’s a really great and powerful song and different to a lot of what you hear at the moment

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Follow Roman Harris

Official:

https://romanharris.com/

Twitter:

https://twitter.com/iamromanharris

Facebook:

https://www.facebook.com/iamromanharris/

Instagram:

https://www.instagram.com/iamromanharris/

Spotify:

https://open.spotify.com/artist/0T15inO60ox2pJOsDhB6D7?si=jmgF_RnPTZSZMXbb_8lx0w

YouTube:

https://www.youtube.com/channel/UCn8xcJOY5nwyiHN-sOzqQYw

FEATURE: Carry That Weight: 26th September, 2019: The Beatles’ Abbey Road at Fifty: Why It Is the Most Important Album Anniversary Ever

FEATURE:

 

 

Carry That Weight: 26th September, 2019: The Beatles’ Abbey Road at Fifty

IMAGE CREDIT: Spotify 

Why It Is the Most Important Album Anniversary Ever

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IT is a fair few months away...

 IN THIS PHOTO: The Beatles captured in their final photoshoot on 22nd August, 1969 in the grounds of Tittenhurst Park/PHOTO CREDIT: Ethan Russell and Monte Fresco

but I think the bunting needs to come out of the storage cupboards and we need to get ourselves ready for a very special Beatles anniversary! There are a lot of albums celebrating big anniversaries this year but there is something about a fiftieth that is truly epic and unbeatable. Maybe it is the length of time elapsed or the fact it just seems so unlikely – those legendary albums come up for their fiftieth and it allows the generations to come together. I was not born when The Beatles’ Abbey Road turned fitly on 26th September, 1969 but it is a record that was a big part of my childhood! My mum always highlights that medley that forms most of the album’s second side. In 1969, it was rare to have a medley of songs on an album, whether it was from a huge artist or someone unknown. In fact, in 2019 we do not have that many medleys – or single tracks composed or various different vignettes! That is masterful and wonderfully handled by the band but there are so many other treats through the album. I feel the fiftieth anniversary of Abbey Road will be the most important milestone of my lifetime. In terms of albums from iconic artists, can you name any more important?! Many consider other Beatles albums finer but the critical and fan opinion seems to have swung the way of Abbey Road – even if, for a time, Sgt. Pepper’s Lonely Hearts Club Band has taken the top spot before.

Many will argue Revolver is a better record but for its sheer significance then you cannot top Abbey Road! Remember, the band had already recorded 1970’s Let It Be before they set to work on Abbey Road: it is their finale and the last time the band would record together in the studio on a full album. The experience of Let It Be was quite tense and unhappy and, when that album turns fifty next year, I wonder whether it will get the same impact as Abbey Road – I really do not think it will. The band went into recording Abbey Road with an aim: as it was their final album, they would get rid of the tension and try and get back to where they were before. To be fair, there were some tough times during recording and a bit of that friction remaining in the air! George Martin had to be asked back as producer by Paul McCartney after the tension of The Beatles (1968) and the fact Phil Spector produced Let It Be. The fact everyone was back in the same studio was a relief and produced some of the best music of The Beatles’ career. I will come to my argument regarding the importance of this anniversary but, after the fraught electricity that produced Let It Be, Abbey Road began life on 22nd February, 1969.

Billy Preston accompanied the band on Hammond organ and the final album came together on 20th August. That was the date is memorable because it was the last time every Beatle was in the studio together – I think a separate celebration/anniversary should be held for that! Paul McCartney and John Lennon had enjoyed working on the non-album single, The Ballad of John and Yoko, and that bonhomie carried on in the sessions of Abbey Road. Although the experience of recording this time around was better than the last, there was tension and arguments between the entire band at some point! There are exaggerations as to how much of a role Yoko Ono played in these fall-outs but it was clear, by 1969, the band as they once were had disappeared. Lennon and Ono were together a lot and there was still a sense of McCartney trying to keep it together and guide things. It is the two halves of Abbey Road that fascinate me. The first has more conventional numbers and traditional Beatles songs and the second is dominated by that suite. If Lennon was still digging at McCartney because some of his (McCartney’s) songs were for grannies, then the band as a whole had a point when McCartney presented the odd Maxwell’s Silver Hammer – endless takes and hours were spent putting it together to the point the rest of the group had had enough!

 IMAGE CREDIT: Claire Huntley

There are truly remarkable tracks throughout Abbey Road. George Harrison’s Something is viewed by many as the finest track on the album – and one of the band’s best – and Here Comes the Sun is an incredible track. Harrison was really coming into his own as a songwriter on the final album and it makes me wonder how strong The Beatles would have been if they recorded more records – knowing they had three world-class songwriters penning the tracks! Come Together is a stunning opening and Lennon’s I Want You (She’s So Heavy) is unlike anything The Beatles ever produced. The band was taking their music, as usual, in all sorts of directions and this near-eight-minutes-long-wonder-piece just suddenly stops...and with it the first half of the album. The second side has the relief of George Harrison’s Here Comes the Sun welcoming people back in before we start to enter that medley. I think the fact that suite of songs was so unheard of an inventive deserves accolade all by itself. It would have been a huge gamble for any band but for The Beatles, regardless of their strength and situation, it was a massive deal. They were always pioneering but they had never tried another like that song-cycle on the second side. The End ends things (well, the hidden track, Her Majesty, does!) and you are left breathless and try and take everything in.

Many argue about The Beatles’ discs and which one comes where. Sgt. Pepper’s Lonely Hearts Club Band and Revolver have competed for top place but Abbey Road has always been up there. I think, the more time that elapses, the more Abbey Road will be seen as their most important album. There are several reasons why The Beatles final-recorded album’s fiftieth anniversary is vastly important. This will be the last truly big anniversary of any titanic Beatles album (fifty, seventy-five etc.) with any surviving members. The songs are wonderful and, after a brief blip, see the world’s greatest-ever band returning to their daring best. A few iffy tracks here and there (Octopus’s’ Garden and Maxwell’s Silver Hammer) add to the charm and mood and I cannot find anything to fault. The production is fabulous and I love the fact there is this distinct tale of two halves. The fact there was a hidden track was a bit of a first. I cannot think of any big Pop/Rock band before 1969 doing that and, since then, artists from all corners have been popping in hidden tracks. Remember this was the last time The Beatles recorded together and it was the end of an era makes Abbey Road’s fiftieth anniversary bittersweet. I have not even mentioned Abbey Road’s iconic cover – The Beatles were no strangers when it came to creating these immaculate and brilliant covers!

The shot of the band on a zebra crossing was based on sketches by McCartney and shows him out of step with the other members. It was taken on 8th August, 1969 outside EMI Studios on Abbey Road. The band had only ten minutes whilst traffic was being held. Photographer Iain Macmillan was up a step-ladder and captured this unique image – much-parodied through the decades – in a real flash. It is said six images were taken before McCartney examined them and decided which was best as the cover. Many fans have mimicked and copied the cover and, when Abbey Road turns fifty, you can bet a whole new generation will produce their own version of that cover! There are so many aspects of the album that deserve a spotlight and that is why I think Abbey Road at fifty will be something special. There are not that many Beatles albums that have gained one school of thought upon release and then opinion changes through time. Abbey Road received some mixed acclaim upon release as many were unhappy with the production and sound – many were looking for something more live-sounding. You do not need me to tell you – but I will... – that contemporary reviews have been a lot kinder and more unified. AllMusic had this to say:

“The last Beatles album to be recorded (although Let It Be was the last to be released), Abbey Roadwas a fitting swan song for the group, echoing some of the faux-conceptual forms of Sgt. Pepper, but featuring stronger compositions and more rock-oriented ensemble work...

 

The group was still pushing forward in all facets of its art, whether devising some of the greatest harmonies to be heard on any rock record (especially on "Because"), constructing a medley of songs/vignettes that covered much of side two, adding subtle touches of Moog synthesizer, or crafting furious guitar-heavy rock ("The End," "I Want You (She's So Heavy)," "Come Together"). George Harrison also blossomed into a major songwriter, contributing the buoyant "Here Comes the Sun" and the supremely melodic ballad "Something," the latter of which became the first Harrison-penned Beatles hit. Whether Abbey Road is the Beatles' best work is debatable, but it's certainly the most immaculately produced (with the possible exception of Sgt. Pepper) and most tightly constructed”.

It is sad to think that, after we mark Abbey Road’s fiftieth, the next major anniversary is a long way away – maybe sirs Paul McCartney and Ringo Starr will not be with us! We have those emotional reasons and the quality of the songs; the inventive aspects of Abbey Road and the iconic cover; the fact it was the final time The Beatles recorded and album and the record has endured for so long. It is a long way away but I do wonder whether there are plans coming for something unforgettable. Last year, there were celebrations regarding The Beatles (‘The White Album’) and that was great to see. That album is fantastic and the fact it is so sprawling and eclectic made it ripe for dissection and fresh investigation.

  IN THIS PHOTO: The Beatles captured in their final photoshoot on 22nd September, 1969 in the grounds of Tittenhurst Park/PHOTO CREDIT: Ethan Russell and Monte Fresco

Abbey Road is comparatively simple but its weight, majesty and sheer important means it is even more worthy of a proper celebration. I know there will be the odd bit on radio stations around the world but I wonder whether there are plans to do a full-on night that talks about the album, gets people to play renditions of songs – popular artists providing their take – and contributions from musical names and maybe those involved with Abbey Road. Giles Martin (George Martin’s son) was present when there was a YouTube stream commemorating The Beatles at fifty – featuring Matt Everitt, Georgie Rogers (both of BBC Radio 6 Music) and esteemed music names – so I think it would be possible to work something up in the next few months. The fact Martin was there was because he remastered the album and provided rare cuts and demos to go on a fiftieth anniversary collection. One assumes Abbey Road will get a Martin makeover and there must be stuff in the vaults we have not heard. I believe Abbey Road hitting fifty is the most important album anniversary of this generation because of everything happening with The Beatles at the time – and the fact this was their glorious finale. I would love to see a proper shindig and party for this remarkable and hugely influential record. It was revolutionary and bold in 1969 and its beauty and meaning has only grown deeper in the following years. The Beatles sang, on The End: “The love you take/Is equal to the love you make”. They provided us with something truly spellbinding and unrivalled with Abbey Road and it is only right, on 26th September, we throw as much love as we can back and...

COME together!