INTERVIEW: Phildel

INTERVIEW:

Phildel

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TAKING us into the middle of the week...

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is the mighty Phildel. She has been telling me about her latest track, Glide Dog, and her upcoming album, Wave Your Flags – she tells me about some albums that are important to her and whether there are rising acts we need to look for.

I ask how a strict childhood impacted her and what effect music has; whether there are tour dates coming up and how she manages to unwind away from her busy career – Phildel chooses a great Elbow track to end the interview with.

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

Great, thank you. I've spent most of it wrapping string around a life-size mannequin. It’s a prop for my next music video…. 

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

I’m a British music artist who focuses on creating unique sonic landscapes. My songs are emotionally driven - inspired by my experiences. 

What can you tell me about Glide Dog? How did the song come together?

Glide Dog arose from a number of things...

For a while I’d had an image in my mind of a song. It was like an abstract diagram where each line represented a different instrument in the arrangement. It was a sparse image. I’ve sketched it below…

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I translated the image into music and assigned different instruments to each part. For example, the blue represents the consistent foundation of the bass-line; the black are the toms; the red is the striking programmed snare; yellow for the piano - minimally placed and green for the vocals. 

Then, when it came to vocal recording, I was sitting improving at the microphone and, for some reason, the music lead me into a playful, vampiric zone...and from that place I wrote the verses. The choruses were written in a different mindset. I think, on one hand, I was finding the darkest places within myself where there is an enjoyment of destruction and carnage. I think, especially as a woman, the playful, dominant power-play of the song, with a mix of sinister yet sexual overtones, feels like an interesting space to embody. It has a sentiment of ‘I’ve been sexually objectified all my life by casual onlookers’. It has been painful and horrible. And now, deep down, I just want to inflict f**kloads of pain on people who have any sexual interest: “Skin don’t mean a thing/your skin don’t mean a thing, no”. “I need more blood than you could pour, love”; “I need more pain to remember your name”. 

It’s easy to assume I might be talking about myself wanting to feel more pain - but the pain I’m looking for is the pain I can successfully inflict in others. 

Just to point out, this isn’t me in my day-to -day life! (I’m in a solid, fifteen-year loving relationship with a wonderful man - we have two kids and plenty of harmony). But, this is some deeper, darker part of myself that has been injured and carries this voice which I’m expressing in this song. 

Wave Your Flags is your upcoming album. What sort of ideas are expressed throughout the record?

There’s some incredibly reflective and philosophical moments in the album. Glorious is about moving on and thriving despite some of the worse injustices and betrayals. Lamb is about being there to take responsibility for and heal the wounds of your inner-self. I think, to sum it up, the album is about human resilience. 

It is your first album in five years. What was the reason for the slight gap?

It usually takes me about eight years to put an album together (I spend a long time experimenting with arrangements and sometimes I need to wait to grow as a person before I can, say, write a middle-eight), so, actually, this is fast work for me. In the five years I also had my twin boys, Dylan and Finn. That’s been an amazing new journey.  

Is it true you had quite a strict childhood? Were musical and artistic desires not encouraged?

Yes. My mother re-married a religious man when I was eight. He believed music was against his religion and all music was banished from our home. I left there at seventeen to pursue music. 

Can you describe what music does to you? Is it a form of emotional release?

Absolutely. And I think it’s the most effective way in which I can communicate. Which is why it feels so satisfying. We all want to be heard, empathised with and understood. And I feel with the complexity of both difficult and euphoric life experiences, music is one of the best mediums to convey the full feeling in a way that others will deeply feel also.

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

There have been so many. I think going to the album signing table at Vancouver Festival after playing to a completely new audience of about one-hundred people and then seeing a hundred people line up to buy my C.D. and get it signed was a truly touching experience. 

I know you have been supported by various stations and outlets. How does it make you feel knowing your music resonates and connects with people?

It feels wonderful to know it’s out there being heard. Although, I should mention that music is more a creative journey for me, as opposed to a fame-seeking thing. The audience/exposure aspect is not nearly as significant as the process of creating. I think where I find real reward, though, in terms of reception, is when someone lets me know the music has helped them through a difficult time. 

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

I tend to take a year to listen to an album and I’ve probably only heard about ten in my lifetime. I loved Elbow’s The Seldom Seen Kid. There were a few songs in that I felt represented a real milestone. Such as the loving intimate caring communication between two men that are friends in Friend of Ours. Most of all I loved the musical arrangements and lyric writing in the album. I think it’s the best album ever to win the Mercury award. I enjoyed Imogen Heap’s album, Speak for Yourself, for her unique production. And I also loved The Miseducation of Lauryn Hill, again for songwriting and production. 

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

Elbow. In terms of rider: loads of chocolate. 

What are your plans regarding gigs/touring?

We’ll be playing a U.K. tour later this year with a possible couple of U.S.A. dates too. 

Is there any advice you’d give to upcoming artists?

Enjoy and savour every moment of the journey. No matter what level you are at. 

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 IN THIS PHOTO: Richard Fairlie

Are there any new artists you recommend we check out?

Richard Fairlie, Cub Sport. 

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 IN THIS PHOTO: Cub Sport/PHOTO CREDIT: Jeff Andersen Jnr

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

Nope, I never stop really. When I’m not working I’m chasing my two-year-old twinados around. A few times a year I like to visit the spa...

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

Thanks! I’d choose Elbow’s The Loneliness of a Tower Crane Driver

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INTERVIEW: CHARLOTTE

INTERVIEW:

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CHARLOTTE

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MY Tuesday interview is with CHARLOTTE...

who has been talking about her track, Nervous, and why it holds personal weight; what we can expect from the E.P., Nowhere to Hide, and which albums mean a lot to her – CHARLOTTE selects a few artists we need to look out for.

I ask what it was like putting her E.P. together and whether music came into her life from an early age; what she does away from music and whether there will be gigs approaching – she picks a great track to end the album with.

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

Hey! I’m great, thanks. I’ve been in L.A. for the past week so I am very much enjoying the sunny weather.

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

Sure. I’m from Hull in East Yorkshire, England. I released my first single, I Tell Lies, on 22nd Feb which was also my twenty-first birthday. I’ve been writing for myself and other artists since I was seventeen, so I’ve spent a while crafting my sound. It feels really great to finally be releasing stuff now.

Nervous is your latest track. Can you talk about the story behind it?

It’s inspired by my pretty appalling excuse for a love life. I’ve found myself completely incapable of letting anyone close enough to get into a relationship with them. This song specifically talks about those people I’ve pushed away or potential relationships that I’ve single-handedly screwed up before they could blossom into anything serious, despite still having feelings towards those people.

It is from the E.P., Nowhere to Hide. What sort of themes inspired the E.P.?

Growing up, insecurity and loneliness. Learning how to navigate becoming an adult and learning how to love myself. Releasing this music is scary as it’s all such personal stuff.

What was it like putting the E.P. together? Did the songs come pretty naturally?

Each of the songs are attached to really intense emotions that were all written in the moment. There were definitely some incredibly tough sessions. I was not a happy person at all when I wrote these songs but writing each of them helped me begin figuring things out.               

Do you remember when music came to you? Did you always grow up around different sounds?

I grew up watching my grandparents perform Soul music. I’d join in their rehearsals and invite myself up onstage from as young as four. I was completely captured by the music they played. I feel really lucky to be from a family of music lovers. I was exposed to so many amazing artists from all different genres. That’s definitely given me a great sonic foundation to draw inspiration from when I’m creating.

Which modern artists do you take guidance from? Do you listen to a lot of current music?

I listen to old and new music in equal measure. I think there are some unbelievably exciting artists making music at the moment. I’m a huge fan of Leon Bridges, Maggie Rogers; Bon Iver, Sam Fender; Frank Ocean, Lewis Capaldi; Ry X, H.E.R. and Billie Eilish. I’m taking huge inspiration from seeing authenticity getting the recognition it deserves. It makes me feel like I can be braver with the things I share in both my music and online when I see other artists baring their souls.

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Are there any ambitions for the rest of 2019 in terms of music and plans?

There are plenty of things I wanted to achieve - although I’m trying to make the most of every moment as it happens rather than falling into the vicious cycle of always chasing something better. I’d love to get to the end of this year and be able to say that I’ve played over one-hundred shows. I’m playing show number thirty-eight tonight, so I’ve made a good start on that I think. 

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

I do. I had the most unforgettable weekend in Ireland last week. I was asked, last-minute, to guest appear on a song with a band called Picture This for five nights at the 3Arena in Dublin. I got to sing for a total of 65,000 people over the five nights. The story is a bit longer and more complicated than that but a series of weird and wonderful events led to it all happening and I will carry the memories with me for the rest of my life.

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

The albums that mean the most to me are the ones that have sentimental value. Hand Built by Robots - Newton Faulkner reminds me of car journeys with my mum; O - Damien Rice reminds me of my first festival experience and it’s an album I listened to a lot with my brother. Then pretty much every memory I’ve made in the last year and a half has been soundtracked by Leon Bridges - Good Thing…because it’s pretty much all I’ve listened to. Haha.

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

I am THE most low-maintenance person ever. It takes very little to make me very happy. All I require is carbs and hummus. I also love taking naps. Maybe I’d ask for a sleeping pod like they have at the Google offices. Oh…and I’d ask for my dog to be transported to wherever I’m performing.

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What are your plans regarding gigs/touring?

I have more tours coming up that I’ll be able to announce soon. Including some headline shows that I am SO excited about.

Is the stage somewhere you love to be? How important is it being up there?

Being onstage feels vital. I start to feel a build-up of energy and weight on my shoulders that can only be released by performing if I don’t have shows for a while. I don’t even have an explanation for why that is. Playing my own songs instead of covers has added another level to shows for me. Singing my own lyrics and having crowds connect with what I have to say is amazing.

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 IN THIS PHOTO: Koffee

Are there any new artists you recommend we check out?

I doubt I’m listening to stuff you haven’t already discovered but I highly recommend Koffee, Joesef and a band called Vistas.

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 IN THIS PHOTO: Vistas/PHOTO CREDIT: Ellen Offredy Photography

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

At the moment, no. It’s been properly hectic since the beginning of this year.

I’m scheduling in a week off at the end of May where I plan to go home and just establish a bit of routine for myself again. Go to the gym, eat proper meals; walk my dog and spend time with my family. They’re all things that I’ve missed out on whilst touring over the last few months. I tend to operate at 100 m.p.h. until I can feel that I’m physically or mentally struggling a bit, then I make sure I take some time to reset.

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).

Saturday Night - Whigfield. I listen to this before I go onstage. Do the dance. It’s a banger

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INTERVIEW: Bailey Tomkinson

INTERVIEW:

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Bailey Tomkinson

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THANKS to Bailey Tomkinson...

for chatting about her current single, 7 Minutes in Heaven, and its story. I ask about her musical past and the sort of artists who inspire her; she talks about St Ives and what the scene is like there – Tomkinson highlights some rising artists worth following.

I wanted to know what comes next for her and whether there are gigs; if her parents exposed her to a lot of music when she was a child and what she does when she is not recording and playing – she selects a great song to end the interview with.

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

Action-packed! And a bit weird!

I’ve spent a bit of time in the studio, which was fun, and then I watched another local girl, Molly, win The Voice! We both actually were invited to audition at the same time but I turned it down as I didn’t think it was a good fit for me and I’d just signed a record deal but Molly only went and won it! I’m really pleased for her! 

Hell of an unusual week really!

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

So. I’m Bailey. I’m a nineteen-year-old singer/songwriter from sunny St Ives in Cornwall. I like to write Country melodies that hopefully even people that don’t normally like Country music will want to sing along to! I’m signed to German indie label FBP Music and when I’m not performing you can usually find me in the surf!

7 Minutes in Heaven is your new track. How did that song start life?

It was a combination of things, really.

I love movies like Dazed and Confused and Nick and Norah’s Infinite Playlist for the sense they have where in one crazy night anything can happen. I thought it would be interesting to try to capture that feeling in a song. I’m nineteen years old, so you know I love a good party and we have some GREAT parties down here in St Ives. We’ve got the beach, bonfires; surfers and guitars so I thought why not write about some of them!

Are there any ambitions for the rest of 2019 in terms of music and plans?

Oh, yes, loads. I have a couple of London gigs coming up which I’m really looking forward to. I’m playing Boardmasters in August and a bunch of other festivals too which I’m really excited about; a new single and E.P. at some point to cram in too! I’d very much like to get on the road later in the year as well.

When you were growing up, which artists/records did you hold dear?

I’m part of the generation that grew up listening to Taylor Swift. I think Red is a brilliant album but I love all sorts of stuff. I listen to Sinatra. I love John Denver because he’s my grandad’s favourite. Also Sam Cooke, ABBA; the Dixie Chicks, Sugarland; Madonna, Cyndi Lauper and Jewel - honestly, I just love music.

It sounds like you have a wide variety of musical tastes. Would that be a fair assessment? Were your parents influential in that respect?

Yes. Good music is good music, right? Irrespective of genre. Our house has always been full of music. In fact, the way my dad tells it the only way to get me to sleep as a baby was for him to carry me around in my car seat singing Elvis songs! He reckons he had a left arm like Hulk Hogan back then! As I got older, they introduced me to more and more diverse music so, one minute it’d be the Eagles, then The Stone Roses, Jann Arden or Lucinder Williams…our house is never silent!

Country music is evolving at the moment. Do you think the genre is at its most open and inventive right now?

I think it’s always been an inventive genre but there’s definitely so much going on within Country music at the moment. Kacey Musgraves is a great example and Golden Hour has been a huge influence on me. My brand of Country music has a fairly big Pop side to it and she’s inspired me to not be afraid of letting that show. There are other artists too like Kane Brown and Lil Nas X who have fused different sounds and genres in with Country music - and it’s very exciting to see that growth and broadening of appeal. It’s how we can reach new people.

I definitely feel that nothing is off the table - and that’s very inspiring to an artist.

PHOTO CREDIT: Megan Hemsworth Photography

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

One of my favourite memories was my E.P. launch gig last September. We wanted something small and intimate so we picked a place called The Queen’s here in St Ives. It was so full that people were pretty much queueing to get in! It’s where I did my first open mic and my good friends and mentors The Amigos backed me; they’re fantastic! Lots of friends and family were there; everyone was singing my song, Hey Ace.

The atmosphere was so amazing and it was one of the venues busiest nights.

You are based in Cornwall. Is there a big music scene where you are?

It’s small but mighty! Here in St Ives, there’s a bunch of young musicians that are doing well and we’re all friends and support each other! Hell, one of us won The Voice this year! We’re not a big town but you’ll find live music here pretty much every night of the year. Keep your eye out for a local keyboard player called Joe Duke. He’s like the second coming of Jerry Lee Lewis.

There’s lots of local events and festivals too, including one of the biggest festivals in the U.K. in Cornwall, Boardmasters! I’ll be playing there this summer alongside Florence + The Machine, Jorja Smith; Foals, the Wu-Tang Clan; Rudimental and Sam Fender to name a few - I’m buzzing.

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

Love & Forgiveness - Courtney Jaye

This was the first album that I loved every single song on. The album was Pop-Country and had this Hawaiian twist to it. I absolutely love The Beach Boys and Israel Kamakawiwo’ole, so I felt as though it was everything I loved in one album. It has certainly helped shape my music and probably me as a person! I listened to it religiously for years. It’s very hard to find now as it was taken off lots of music streaming platforms - that just adds to the appeal in a way. It’s taken on this ‘was it a dream’-like quality.

Taylor Swift - Taylor Swift

This album was the reason I do what I do. The first time I heard Mary’s Song, I was so arrested by the story. I engaged with that song on a deeper level than I had before. I started writing music after I heard this (when I was about eleven). That album kinda opened a door to Country music that I hadn’t really explored before. I grew up with John Denver and the Dixie Chicks (more traditional Country) but I soon discovered artists like Deana Carter, Tim McGraw and Carrie Underwood.

Gold: Greatest Hits – ABBA

I couldn’t really decide which album as I love them all. Every time I listen to them it puts me in the happiest mood - I could listen to them forever. I’ve been collecting their vinyl for years. My favourite songs by them are Hasta Mañana, Super Trouper and If It Wasn’t for the Nights. They make me feel as though I’m spinning under a disco ball in a sparkly dress.

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

I would love to support Kacey Musgraves or Taylor Swift. They’re two of my biggest inspirations and I’d have the usual stuff on my rider but, if I could be very picky with my rider, I’d have some Pan di Stelle biscuits ordered in because they were my favourite when I was little and living in Italy. They’re very hard to get a hold of in the U.K.! I’d have some potato waffles! Maybe just a drop of whiskey for after the show. Haha. I’m very easily pleased though.

Are you planning any gigs in the coming months?

Yeah! I’ve got some really exciting gigs coming up. I’m really looking forward to the London ones as it’s such a change in environment to the beach town I live in! I’m also buzzing for Boardmasters as I’ve been going to that festival since I was sixteen. I’ll be playing on the stage I really wanted to perform on too!!  We put everything up on my website so folks can always check out what I’m up to.

How important is performing? Do you prefer it to life in the studio?

Honestly, I love both! The studio is great because it’s where you can experiment. I’ve been playing around with an ’80s Cyndi Lauper/Madonna vibe recently and really like how it’s sounding, so having that space to just try new things is great. But there’s nothing like the buzz of playing to an audience; the interaction, the chance to just go where feels right in that moment. You can’t replicate that in a studio. 

I love that with live music: every single gig you share with an audience is a unique moment. I saw Natalie Merchant of 10,000 Maniacs last summer and she said something that struck a chord with me. She said: “Don’t get your cameras out and film everything: let’s just share this experience and let it live in our memories”.

 IN THIS PHOTO: Maggie Rogers/PHOTO CREDIT: Michael Buckner/Variety/Rex

Are there any new artists you recommend we check out?

Yeah. Definitely Maggie Rogers. I’m really into Camera Obscura and Alvvays at the moment too! And Jenny Lewis has just released an album. I have it on-repeat! On the Country scene, I think Runaway June are superb. There are loads of British Country artists emerging that I think shows a really healthy and developing scene.

 IN THIS PHOTO: Alvvays

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

I’m so lucky to have such loving and supportive friends and family! One of the best things about living in a small town is that your friends are never more than fifteen minutes away! One of my favourite things to do is have a surf and then lie on the beach with my friends under the sun and listen to Israel Kamakawiwo’ole!

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).

Light On by Maggie Rodgers is such a tune!

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Follow Bailey Tomkinson

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FEATURE: Vinyl Corner: Crowded House - Woodface

FEATURE:

 

 

Vinyl Corner

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IMAGE CREDIT: Spotify 

Crowded House - Woodface

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I promise there will be albums from women...

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IN THIS PHOTO: Crowded House in 1991 (Mark Hart, Neil Finn; Tim Finn, Nick Seymour and Paul Hester)/PHOTO CREDIT: Getty Images/Press

in this feature very soon - and I am aware it has been a while since I have included any. I wanted to include Crowded House and Woodface because it is an album that is back in my life (I am playing it quite regularly at the moment). It is one of those records that was around when I was a child and I always gravitated in its direction. Maybe it is the harmonies or the accessibility of the songs; the fact that there are so many moods or, maybe, it just that special magic that cannot be explained. Woodface was released on 1st July, 1991 in the U.K. and was the third studio album from the New Zealand/Australian band. The arrival of Woodface marked an interesting point in Crowded House’s career. 1988’s Temple of Low Men was a remarkable album and one that gathered a lot of critical acclaim. It was a change of tone from their debut album, and was a big leap in terms of quality. Neil Fin stepped up as a songwriter and dug deeper when it came to emotions. If anything, Woodface sort of brought back what Temple of Low Men was lacking in some respects: those easy hooks and a sense of breeziness. Tim Finn provided backing vocals for Temple of Low Men but was much more heavily involved in songwriting for Woodface. They started writing together when Crowded House had a break during the Canadian leg of their tour – the one that was supporting Temple of Low Men.

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  IN THIS PHOTO: Crowded House (circa 1991)/PHOTO CREDIT: Getty Images/Press

Neil Finn wrote four of the tracks on Woodface – including one of its biggest singles, Fall at Your Feet – whilst the brothers co-wrote the rest (except for Italian Plastic, which was written by the band’s drummer, the late Paul Hester. Whereas Neil Finn led the writing previously, there was more harmony (in many senses) between the brothers on Woodface and, as such, the album seems much stronger and more ambitious. Tm Finn returned to the band as a full-time member now and, to me, the fact that he is much more a part of the music stepped up Crowded House’s vision and scope. Mitchell Froom and Neil Finn produced Woodface and the majority of the tracks see the brothers harmonising – Neil Finn taking the lead on Four Seasons in One Day shows that they could break up that pattern to devastating and emotional affect. Despite the fact that Tim and Neil Finn were supremely blended during Woodface, Tim would lead the band when they were touring the album in the U.K. – a brief moment in the spotlight and I wonder whether Tim and Neil Fin will ever record a Crowded House album together again. Everyone has their favourite moments from the album but, to me, three of the singles stand out: It’s Only Natural, Fall at Your Feet and Weather with You are perfection. These tracks were release around 1991/1992 and, at that time, I was at secondary school – I may have just been in the final stages of primary school when Fall at Your Feet came out in September 1991.

Being so young, I was hooking onto music that was accessible and catchy. It would take years for me to realise the depths and true meanings behind the songs but, being so young, I was made giddy by the great hooks and big choruses. Maybe Weather with You is the biggest song from Woodface and a song that is instantly recognisable. I have heard the song countless times and it is a track that gets people singing along loudly! One of the only drawbacks of Woodface is the fact that it is top-heavy: its five biggest songs happen in the first half and most of the lesser-known songs are in the second half. From the singalong beauty of It’s Only Natural and Weather with You to the tenderness of Fall at Your Feet; the beautiful visions and harmonies of There Goes God and the calm of She Goes On, Woodface has so many different sides and expressions. In terms of variation and range, there is so much to enjoy about Woodface. If their fourth studio album, Together Alone, received stronger reviews in 1993, I feel Woodface is a more complete and satisfying listen. The bonus of having both Finn brothers together in writing and vocals gives Woodface its additional shine and brilliance. In 1991, Entertainment Weekly reviewed Woodface:

“With richly melodic songs that captured the whimsy and wistfulness of falling in love without ever seeming calculated or maudlin, Crowded House’s self-titled 1986 debut album came about as close to being perfect pop as anything that was released that decade…

On the band’s new, third album, Woodface, singer-songwriter-guitarist Neil Finn continues to prove himself one of the canniest and most gifted melodists around, and here he’s given vocal and songwriting assistance by singer-pianist Tim Finn, his brother and former bandmate in Split Enz, whose plaintive tenor makes for some spine-tingling harmonies. The beauty of the music is, however, sometimes mired in a self-conscious sardonicism that, more than a decade after New Wave came along to mock every musical and cultural movement that preceded it, seems a bit tired. Best are the romantic ballads, particularly the buoyant ”It’s Only Natural” and ”She Goes On,” which features the most elegantly elegiac melody line you’re likely to hear this year”.

AllMusic reviewed the record in 2015:

“Where Crowded House's previous album, Temple of Low Men, showcased the often dark side of a man alone with his thoughts, Woodface represents the joy of reunion and the freedom of a collaborative effort -- more than half of the album was originally conceived as a Finn Brothers project, which was Tim and Neil's first crack at writing together. The songs are easily their finest to date, combining flawless melodies and the outstanding harmonies of the brothers' perfectly matched voices”.

Woodface is an album that seems to grow stronger over time and keeps on revealing fresh layers. It sounded pretty bloody great when I was a child but, in 2019, I think many people overlook Woodface and it definitely warrants new investigation.

This article from 2015 examined Woodface but explained that, as a first single release, Chocolate Cake was not a wise move from the band:

“By all accounts, Crowded House (over the objections of management and label) insisted that the first single, and the album’s lead-off track, be the surreal dance song “Chocolate Cake.” The Finn/Finn collaboration was a tongue-in-cheek attack on Americans and their obsession with excess and celebrity. “Chocolate Cake” took potshots at everyone from Tammy Faye Baker to Andrew Lloyd Webber (“May his trousers fall down as he bows to the queen and the crown”). The joke wore thin quickly.

“‘Chocolate Cake,’ in hindsight, may well have undone us,” Neil Finn said. “It started off as a live song, which was tremendous fun to play. But as a first single a lot of people were put off by it. It was confrontational, which was good in a sense — people either loved it or they hated it. But maybe it gave an impression of the album which was quite remote from what the album actually was.”

While Woodface became the band’s best-selling album in Great Britain, topped the chart in New Zealand and was a huge seller in Australia and Japan, it hit the U.S.A. with a resounding thud. It peaked at No. 83 in Billboard. “Chocolate Cake” had been issued early, as a CD single and accompanied by a garish, expensive video”.

 PHOTO CREDIT: Getty Images/Press

Through the years, I have heard bands and artists inspired by Crowded House; songs that borrow little elements from Woodface and try and update that sound. There are some great features that re-examine Woodface and highlight its incredible selection of songs. XZ Noise ran a feature in 2015 and argued why Woodface deserves new fondness:

“Woodface is the strongest collection of songs put out by Crowded House on one release. Taking that fact into consideration, Woodface is overdue for a well deserved dusting off and re-examination. What the band produced on Woodface was transcendent pure pop, where they produced numerous three minute melodic miracles. The band created lyrical songs that were in keeping with their desire to follow the musical whimsy which was woven into their DNA. The album displayed Neil and Tim’s fantastic songwriting abilities. It also emphasized Neil’s knack for crafting high quality songs that combined meticulously crafted irresistible melodies and lyrical details. Critics have always known and credited Neil with the ability to write lyrics that set the band apart from the rest, but on Woodface he exceeded himself. Thematically and lyrically the material soared above what any counterparts had on offer. Finn all the while provided beautiful melodies and memorable choruses that addressed happiness as real but ephemeral, and love songs set on their head with thinly veiled biting realism. The resulting verdict is that if not for the misfiring of the first track Woodface comes very closing to being a Crowded Housemasterwork.

“The song in hindsight that many agree should have begun the album; its Only Natural has that familiar beloved Maori strum guitar. Even better was the beautiful harmonizing between the Finn brothers. It is a lovely shimmering song with a country twang that Tim introduced to liven up CH’s sound. The lyrics speak to human nature and the way every one wants things their way. “…and we don’t even have to try”. Everyone wants to be on the top of the heap with out it being difficult.

The splendid Fall at Your Feet is a sublime song. It is the perfectly bridge from the brooding Temple of Low Men, taking the mood and instrumentation and shaping it into something enthralling. The song overcomes one of the biggest obstacles that Crowded House had always faced; which is that the vocals and lyrics are so strong that the stellar musicality of their work gets overlooked, everything on this track is in perfect balance. The keyboards are bell like and the gentle touch to the production is spot on. The theme is an examination of the hills and valleys of relationships. Displaying the tangled emotions of a long term love; “Whenever I fall at your feet you and you let your tears rain down on me.” It is the fallout after an inevitable fight, “…the finger of blame has turned upon itself and I’m more that willing to offer myself do you want my presence or need my help who knows where that might lead.” This song contains some of Neil Finn’s most beautiful vocals”.

If you have not heard Woodface or feel like the album is a bit outdated, go grab it on vinyl and (re)discover this incredible work.

It might be nearly thirty years old but it never sounds dated. In fact, I wonder why there are not bands around like Crowded House. It has been so long since a band like them came around; all the big hooks, choruses and sumptuous vocals! Great albums should hook you in right away and make that impression but unveil things the more you listen. The big hits from Woodface endure and continue to impress but some of those songs you overlook the first time around – Tall Trees, All I Ask and Italian Plastic among them – get stronger and need a bit more time. I do love the fact there are tracks on Woodface that sort of grow in stature and meaning over time and, the longer time moves on, the grander the album becomes. Go and grab a copy and spend some time around a simply superb album. It is perfect if you need to be calmed and drift away but it is also brilliant of you need to be uplifted and discover something rousing. Woodface deals with some heavy emotions and situations but there is so much joy to be found. Maybe that is a reason why I keep coming back to the album! I am in need of a boost right now so I am going to enjoy Woodface this afternoon and make sure there is a smile on my face. There is no telling whether Crowded House will record another album – their last, Intriguer, was released in 2010 – but one thing is for sure: they will never release anything as strong and timeless as Woodface. It is a record that everyone out there…

NEEDS to own.

FEATURE: Station to Station: Song Two: Ken Bruce (BBC Radio 2)

FEATURE:

 

 

Station to Station

IN THIS PHOTO: Ken Bruce/PHOTO CREDIT: Lorenzo Agius/BBC 

Song Two: Ken Bruce (BBC Radio 2)

__________

IN the second part of my new feature...

 PHOTO CREDIT: BBC/Getty Images

I am looking at a radio personality that has brought so much life and energy to so many people! In my next instalment, I am going back to BBC Radio 6 Music – I opened last week by spotlighting Lauren Laverne – next week but I felt it only right that I give some time to Ken Bruce. One of the biggest drawbacks featuring Ken Bruce is the lack of publicity photos online. I guess radio personalities are never going to be too stocked when it comes to images and the only reason I managed to find a lot of images for Lauren Laverne is the magazine interviews she has given and the fact I embedded a few tweets. I will do that for Ken Bruce as well (putting tweets in) but, when one thinks of a classic radio voice, Bruce comes to mind. It has been a little while since I have heard his morning show but, after breakfast, Ken Bruce is there to ease us all towards lunchtime. I was a bit fearful last year when the moves were announced on BBC Radio 2. I was not concerned they’d can Ken Bruce because, let’s face it, he is the longest-serving male presenter on the station and someone who will be there until he dies! The fact that a few of the best female presenters on the station were being moved, I thought, might mean Bruce moving to a later slot.

The transition and substitutions performed meant that we got a new breakfast host (Zoe Ball); a great one-two of Sara Cox (at five in the afternoon) and Jo Whiley (following her at seven) and the feeling of a more balanced station. Maybe this is not the best week to highlight Ken Bruce’s place in the rankings as many of the D.J.s are off next week. Bruce is being covered by Jo Whiley whereas Whiley is being covered by Mark Radcliffe. No worries, though! Regardless of whether Ken Bruce sees this feature or not that does not matter. He will be back in his regular slot very soon and, if you are reading this, chances are you know what he is about and how his show sounds. Like Lauren Laverne, I am going to start with Kate Bush. Bush was right when, in 2011, she spoke with Ken Bruce and said that he had the best radio voice ever! Their conversation was great and, when promoting Director’s Cut, there was this easy flow and sense of trust. You could listen to Ken Bruce talk for hours because he has that naturally smooth, warming and comforting voice that brings the best out of his subject. Not only does Ken Bruce have that affection and bond with his guests but he has a much more personable nature. Many interviewers can appear stiff and business-like when they interview artists and popular figures but Bruce is a different kettle of fish.

I have a lot of respect for his work and I could not imagine radio without him. The Glasgow-born D.J. and broadcaster started life on radio in the 1970s and moved to BBC Radio Scotland in 1978. By 1980, he moved to a mid-morning slot and, by 1983, he presented a daily current affairs programme. All of these early experiences prepared him for the move to BBC Radio 2: his natural home that has been lucky enough to have him since 1984. It must have been quite a difficult and stressful start to life on BBC Radio 2. He started with a late-night show but was also doing his presenting duties at BBC Radio Scotland. There was a move to breakfast show in 1985 but, in 1992, Bruce stepped into the mid-morning slot. It is amazing to think he has been in that position for twenty-seven years and looks set to be there a lot longer. I look at the radio schedules now and you see a lot of people who have been at stations a while but never in the same slot! Breakfast hosts might be able to last a decade before they get too tired; there are rotations all the time but Ken Bruce, stoic and ever-popular, is still where he is. It would have been a travesty if he were to be moved or was pushed back to a later slot as part of the moves last year. Zoe Ball tees him up and, whilst Lynn Bowles departure as traffic reporter (Richey Anderson is the new traffic reporter) last year was a blow for the station and Ken Bruce, there has not been a great deal of change regarding format and personnel.

Bruce has worked his way to where he is and has his set formula. His show is the perfect way to get people ready for the rest of the day and, aside from dedications and love songs, there are features that we all know and love. Matt Everitt presents music news on Thursday mornings (he is a regular on Shaun Keaveny’s BBC Radio 6 Music afternoon show so gets the best of both worlds, seeing as both stations are housed in the same building!) and there is the Record and Album of the Week slot. I am not sure how much Ken Bruce backs the albums featured because you’d think, at times, he would prefer other albums to be featured. I guess that is the problem with radio: you are told what to promote but, for the most part, you know Bruce is behind the music. The two biggest and most-impressive features on his show are Tracks of My Years and PopMaster. The former is sort of like Desert Island Discs. Whereas the BBC Radio 4 cornerstone involves guests selecting eight records to play, Ken Bruce’s equivalent is a bit different. Each week, there is a popular guest who picks a couple of tracks each day of the week that means a lot to them. It is a simpler format but, crucially, we get more music.

It is great to find out the musical tastes of personalities that, for the most part, we only hear about through the media. Like the interviews Ken Bruce performs, Tracks of My Years has that naturally warm and friendly tone that brings a lot of laughter and banter to the plate! I think there are few funnier broadcasters than Ken Bruce and, every morning, we can rely on his sharp wit and observations. I used to listen in when Lynn Bowles was at the station and was amazed how much humour they brought to the traffic slots. The loving and sometimes-teasing interactions between them is one reason why so many listeners have stayed with the show. There is a new traffic reporter but that is not to say that the laughter has dried at all. I shall cover other things before I wrap this up but the words ‘Ken Bruce’ and ‘PopMaster’ seem to go as naturally together as ‘Piers Morgan’ and ‘massive twat’. The weekday music quiz has been running for years – it was revamped in 2008 with new jingles after possible phone-in allegations and controversy – and it is almost an institution! Against all the stress of the morning and work responsibilities, we can all congregate around the radio to catch two callers battle it out in PopMaster! The format is quite simple, really. There are general music questions but, for bonus points, the caller picks a specialist subject.

Not many competitions and features last this long but you can tell just how much Ken Bruce loves PopMaster after all these years! It is great when you listen and get the questions right but, on many days, there are some tough ones! I am amazed by the knowledge of some of the callers and the fact they are so calm given the pressure and time limits. The bonus rounds are pretty cool and you never quite know what you’d going to get. There are some smart-ass callers who score big points but, normally, there is a pretty close call. The winner of the head-to-head goes through to the final segment – where a band/artist is named and the caller has to name three hits. It is pot luck so you do not know whether you are going to get The Beatles, James Blunt or Fairport Convention! It is a great relief when we get an artist we can all name hits for but, given the fact callers have ten seconds to name three hits, there is often a silence as we all try and recall a hit. You can check out the PopMaster page to get your fix and all the information you need. PopMaster is part of the radio fabric and a big reason why so many people tune into BBC Radio 2! I cannot foresee a day when PopMaster vanishes from the airwaves!

Even though Ken Bruce has been on the radio for decades, he is always keen to spread his wings and step into new realms. He is BBC Radio 2’s commentator for Eurovision and always provides a very witty and fun turn. Like the late Sir Terry Wogan, there is definitely tongue very much in cheek and Bruce is keen to acknowledge the pantomime and silliness of it all. I do love the fact that Bruce is not confined to radio and we get to see him step into other areas. He is on a well-earned break right now but we will be hearing him cover Eurovision next month and he will be back on his regular weekday radio slot. There have been some stand-in presenters for Bruce’s show – including Jo Whiley, Simon May; Michael Ball and Trevor Nelson – but none have the same charm and lure as the man himself. Have there been any bad moments across his run on BBC Radio 2’s mid-morning show. This article from Irish News revealed one guest who was not memorable – not in the right way, anyway! Geri Horner was the one name that stood out:

“Bruce said: “She brought in somebody she had met on the street, and this was just after a major terrorism incident.”

He added: “And a dog that farted.”

Bruce has been a BBC fixture for more than three decades, is Radio 2’s longest-serving male broadcaster, and his mid-morning show has an audience of more than 8 million.

IN THIS PHOTO: Dan Kennedy for The Sunday Times 

Is there a secret to his success and popularity? Modest as ever, Bruce feels there is not a special ingredient or reason why he has been taken to heart:

“But of his secret to success, he said he believes there is none.

He said: “I just come on and am roughly myself – or a slightly better version – and hope that’s what people like.

“I don’t do laugh-out-loud stuff: wry smiles are what I like to get.”

The veteran DJ said: “Would something that works for someone my age work for someone of 15 who is listening in the car with their mum, or someone who is 35?”

In this feature from Radio Times, Ken Bruce talked about the connection he has with his listeners and his love of BBC Radio 2:

 “This downplays his rapport with the Radio 2 audience, which rivals that of Terry Wogan. “I’ll take that as a compliment,” says Bruce. “The Radio 2 audience is a very giving group. It really is a dialogue. People have a feeling of ownership about the station.” On his first day at Radio 2, sitting in for Ray Moore in 1982, he was handed a box of records to play and a pile of cards from Moore’s listeners, welcoming him to the show. But you mess with this audience’s expectations at your peril. When Davina McCall stood in for Bruce in 2007, there were 150 complaints.

PHOTO CREDIT: Getty Images 

“Maybe Davina lacked his common touch. “You have to remember the broad sweep of the audience,” says Bruce. “Would something that works for someone my age work for someone of 15 who is listening in the car with their mum, or someone who is 35? Broadly speaking, I do normal life: things going wrong with your washing machine, children not cleaning their bedrooms. I don’t go to showbiz parties, but I wouldn’t talk about it if I did. If you talk about digging the garden – not everyone’s got a garden. Not everyone can afford a car. You have to not say things that’ll make people think, ‘He doesn’t begin to understand my life’.”

“We used to smoke in the studio,” says Bruce, “and the drinking culture – God, it was massive.” But some things never change: “In 1978 I went to a meeting and was told radio was a dying medium and TV was going to be everything now. But television audiences have declined. Radio has seen a massive number of stations join in and the radio audience appears to have grown. People will download podcasts and the iPlayer is successful, but it’s not going to replace hearing something live, in its own time, on radio.”

Bruce was the fourth and least extrovert child of a Glasgow businessman, which contributed to his appreciation of the well-timed quip. He attended grammar school and trained as an accountant then worked for a car-hire firm, until his voluntary work for hospital radio led him to the BBC. He’s done some television but prefers the intimacy, spontaneity and “lack of paraphernalia” of radio. He commutes in by train each morning from Oxfordshire, where he lives with his third wife Kerith, who was a broadcast assistant on his annual gig presenting the Eurovision Song Contest. He has three adult children from his first two marriages and three – the eldest of whom, 15-year-old Murray, is autistic – with Kerith”.

Who knows what is ahead for Ken Bruce! There will be more big interviews – maybe he’ll get to speak with Kate Bush again! – and I do hope that he stays on BBC Radio 2 for many years to come. He has side-projects like Eurovision and the odd T.V. bit but it seems like he has found his home. Bruce is still in his sixties so I think we have a couple more decades of Ken Bruce on the radio. Balancing family life in Oxford with his daily duties in London, Ken Bruce is an essential figure in radio. I have featured him because I feel he is one of the most inspiring personalities around and the fact he has been with BBC Radio 2 for so many years shows he is doing something right! I love his show and the fact that these established features work so well. I am not such a fan of all the music he plays but that is not really his choice! The main attractions are the humour, professionalism and, of course, PopMaster! If you want to have a long and successful career in radio then follow Ken Bruce! The man has been on the airwaves for decades and has one of the biggest daily audiences on British radio. The voice alone can lead cults, sink ships and seduce anyone and, when it comes down to it, you’d do anything Ken Bruce asked of you with that voice! Even though Bruce is off next week, make sure you keep the man on your dials! When it comes to the radio game, there are few as loved and popular…

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PHOTO CREDIT: BBC

AS Ken Bruce.

INTERVIEW: Izzie Derry

INTERVIEW:

Izzie Derry

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MY final interview of the week...

is with Izzie Derry who has been talking about her new track, Learn to Grow, and its background. She reveals a special musical memory and which three albums mean the most to her; some rising acts we need to watch out for and where we can catch her perform.

I ask how important it is being on stage and whether she grew up around a lot of music; who she’d support on the road if she had the chance and whether she gets time to chill away from music – Derry selects a classic song to end the interview with.

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

I’m really good, thank you. How are you?

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

I’m a twenty-year-old Folk/Country singer-songwriter from Coventry, now based in Brighton.

When did the song, Learn to Grow, come to you? What is its story?

I wrote Learn to Grow about a year ago now. Things kept going wrong and I think I was feeling a little bit lost, so I wrote Learn to Grow to kinda say that, no matter what’s thrown at me, I will carry on, learn from my mistakes and become a stronger person for it.

Is there more material coming down the line do you think?

Yes. Learn to Grow is just a little taste of my new E.P., Lost At Sea, which will be release on 24th April.

Did you grow up around a lot of music? Which artists were your favourites?

My parents are massively into music, so there was always something being played. I think my favourite when I was small was Melanie. My mum had a cassette of hers in the car and we’d sing along to Alexander Beetle on the way to school. Then, when I got a little older, it was James Taylor, Neil Young and Joni Mitchell.

PHOTO CREDIT: Russell Whitehead Photography

What does it feel like when a great song comes to you? Is it easy to describe that moment?

Sometimes it can be a very short release of emotions and, other times, it can take a lot longer and I get a little bit obsessed with it. But, once I’ve finished writing something, I always feel a lot lighter.

 Can you describe what music does to you? Is it a form of emotional release?

It’s definitely an emotional release for me; it feels so positive to turn potentially negative experiences into songs that people can find joy in.

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

I’ve been lucky enough to support some pretty awesome artists but I think the most incredible moment was just a few weeks ago. I’d just played a really intimate gig in Leamington Spa and the organiser came up to me and asked if I’d like to support Fairport Convention. I think my mouth hung open for a solid five minutes.

Being asked to support a band I’ve listened to and loved since I was a kid was just a massive shock to the system.

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

Firstly, Sweet Baby James by James Taylor

He’s a personal hero of mine and I was lucky enough to meet him when I was sixteen. When I met him, that was the album I took for him to sign - and it sits on my bedroom shelf to this day.

Secondly, Trouble by Ray LaMontagne

There is just so much emotion in every single song; it’s my go-to-album whenever I’m feeling sad. I can just belt out the lyrics and instantly feel better.

Finally, Harvest by Neil Young

It’s just so raw: nothing is there that doesn’t need to be. I think, sometimes in more modern music we try and put as much stuff in as possible but I really love how much space there is on this album.

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

I would have to say James Taylor and (for the rider) probably something simple like hummus and carrot sticks.

What are your plans regarding gigs/touring?

I’ll be doing a small release tour when the E.P. comes out…

24th April - Brighton; 4th May – Coventry; 5th May - Tynemouth; 7th May - Leamington Spa; 11th May – Stafford.

Is the stage somewhere you love to be? How important is it being up there?

I always love going back home and playing shows there because there’s always so much love in the room. So, I guess venues back home such as The Tin, Temperance Bar and anywhere else really.

 IN THIS PHOTO: Courtney Marie Andrews/PHOTO CREDIT: Laura E. Partain

Are there any new artists you recommend we check out?

I would definitely recommend Courtney Marie Andrews and John Craigie.

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 IN THIS PHOTO: John Craigie

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

I don’t get much time to chill as I’m studying for my degree; I have a job and doing music too but I live on a boat so, when I do get some free time, I like to spend some time out at sea.

A lot of musicians find little space to detach and relax. Is this a problem that we need to address or do you think it is good having that passion and drive?

I can’t speak for everyone but I feel quite lost when I’m not working towards something in music so, for me, that passion and drive gives me a purpose and makes me feel positive.

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

Let’s go for a Fairport Convention one given the recent news: Who Knows Where the Time Goes?

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Follow Izzie Derry

TRACK REVIEW: Andy Jordan - Gin & Jazz

TRACK REVIEW:

 

Andy Jordan

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Gin & Jazz

 

9.2/10

 

 

The track, Gin & Jazz, is available via:

https://www.youtube.com/watch?v=y7JcOAFjXYE

GENRES:

Jazz/Soul/R&B

ORIGIN:

London, U.K.

RELEASE DATE:

15th March, 2019

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I will start my explaining some changes that...

are coming into this blog in the coming months. I am cutting out interviews and reviews very soon – taking submissions from others; I will approach bigger artists I want to feature instead – because, in new music, it is hard to find that sense of establishment that I need. It is no slight against any artist but it is difficult producing a big review for someone starting out or who sounds similar to someone else – you are just repeating yourself and it is a struggle. I can write about someone like Jack White or Self Esteem and there are multiple angles I can go from. In terms of newer acts, I am pretty much going on limited biography and maybe a slight difference in terms of sound. It can be frustrating but, as I say, I am pushing away in the next few months and only concentrating on bigger artists that will get my blog to a larger audience. Despite not having a lot of biography out there, Andy Jordan has the odd aspect I can focus on – the reason I am featuring him now. I will look at Jazz and Soul blends and why they need to come into the mainstream more; putting a new spin on heartache; artists who can develop and make an impression on the scene in years to come; relating to Record Store Day yesterday and why Jordan’s music suits those who love their vinyl; a bit about where Jordan might head and what the future holds. You’ll forgive me repeating myself but, as I say, given the format of my writing and the length of my reviews, it is near-impossible to put too much original expression considering I have reviewed a few similar artists lately. In any case, I am back to Jazz and Soul and types of music that are present in the mainstream but still isolated to a large extent. Think about what rules the charts and radio and most of it has a Pop edge and there is a distinct sound. Apart from artists like Leon Bridges and Gregory Porter, do we really hear that much Jazz around? There were times when Soul and Jazz were part of the mainstream and held huge influence. Now, in 2019, the scene has changed so much and it seems like a more processed and commercial sound rules.

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 PHOTO CREDIT: @jacklaexanderuk

A reason why an artist such as Andy Jordan digs deeper, I suspect, is his record collection and what he wants to achieve from his music. I suspect that, for a lot of big artists, they just want to produce music that sounds familiar and connects. They try hard to be unique but it can be tricky when you consider what the consumer wants and the style of music they are playing. I hear too many artists who rely on clichés and tropes and you do wonder whether the music will linger and influence in years to come. That is not to say that everything in the mainstream lacks soul and longevity. It is highly possible that some of the best of the moment – including Billie Eilish and Little Simz – will be ruling years and years from now and compelling the next generation. I just think that there is a definite place for artists like Andy Jordan. You hear Jazz more commonly in genres like Hip-Hop than you do standalone, I think. There are some great British Jazz artists working now but they are on the fringes and not quite being embraced by the mainstream. I love the range of British Jazz and Soul at the moment and know full well that there is ample quality and brilliance to be found. Look at Jordan and his peers and you do wonder whether the market should open up more and recognise something special. I do like Pop but I feel like Jazz and Soul goes further and uncovers emotions other forms of music cannot. Maybe it is a bit cliché but think about the late Amy Winehouse and the impact she made in her life. She threw in some R&B and harder beats but, at the centre, there was a Jazz and Soul mixture that stunned the masses. I think many people assume modern Jazz is going to be all noodling and the sort of stuff you hear in the background at coffee shops.

I do think we have misunderstanding and misconceptions regarding Jazz and what it entails. Listening to Andy Jordan and you get something very accessible and familiar. He has a great passion and energy but does not rely on electronics and the same sort of compositions as many out there in music. I am not suggesting he is more authentic and natural but it is nice to hear music that backs away from machinery and the fake to herald something more human and organic. In that sense, his songs of heartache sound more human and emotional. I have written about it a few times now but, another reason I am backing away from reviewing smaller artists is because of this theme: heartbreak and loss. This doesn’t apply to Andy Jordan but, given the fact popular music has been swinging for over six decades, one grows weary of the same themes in music. Everyone faces break-ups and heartbreak but it still dominates music. I feel the most inventive and exciting artists now go away from that and bring other topics into their music. There is nothing wrong with discussing love and disappointment but how does one stand aside and capture the imagination when nearly everyone else in music is doing the same? A lot of artists use the same wording and you do think they need to have a bit of a rethink regarding their subject matter and how to make an impression. I know Jordan has other topics in his songbook and know he will stretch out in future but, as a song that has a degree of pain at its heart, he manages to create something that is different from what is out there. Gin & Jazz, in its title alone, projects images of a man who calms his woes with some Jazz and a glass of gin. The sort of thing I imagined – before approaching the song – was a rather classic scene of a hero at a bar somewhere; thinking about mistakes and the past and things that could have gone differently.

It is vital artists discuss loss and separation in their music but I do think the lyrics can get samey. Instead, Andy Jordan projects something rather film-like and unusual. He does not rely on the familiar sentiments and structures regarding his words. Rather, he puts in images of records and better times; those special nights and, well, everything really. It is hard to compare his latest song with anything else in terms of its descriptions and voice. I like the fact that you get a familiar weight of heartache but the words take your mind in different directions and compel these great images. I have talked about Soul and Jazz and how effecting it can be. I will discuss it further but listen to Jordan’s music and you do not instantly link it to anyone else. The instrumentation and vocals have more nuance and depth whilst the lyrics are from a very personal space – rather than sticking to some sort of commercial format or employing language lazily. I am all for songs regarding break-ups and relationship perils but, given the countless songs that have come before, artists need to work harder and do something different if they want to stay in the mind. Jordan has penned a song that many of us can understand but you sort of know that he is opening his diary and personal life; this track is very much about his particular experience rather than anyone else’s. This is good to hear and, fused with music that is fresh and needed more in the charts, you do hope that Jordan changes minds and perceptions. I have a lot of respect for those genres more at the outskirt; those that have never truly been accepted but, to me, are more interesting, ripe and extraordinary than we know. I shall move on but I do feel that newer artists like Andy Jordan can change things and lead to a bit of a re-arrangement in music. Let’s hope that these evolutions and steps happen sooner rather than later.

I think that there are a lot of great artists who can make an impact in years to come. I think there is so much out there and we can get a bit bogged in all that is around. Is it possible to truly unearth artists who are going to remain and be on the block years from now? I think you just have to use your instincts and trust your gut but a lot of artists sort of slip through the cracks and do not get the celebration they deserve. I think Andy Jordan has the opportunity to keep growing and do really good things in music. Not only does he have a healthy fanbase and a growing following but he is putting out music that has its own skin and personality. That cannot be said of everyone in music so, for that reason, make sure you check him out. I like the conviction that one finds in his music, too. Listen to songs like Gin & Jazz and you know that every word holds meaning and prominence. I do hear songs that appear to be quite insincere and you wonder whether the artist means what they say. Jordan is never too oblique and makes sure that his audience understands what he is saying and they can connect with the music. Artists who can balance the personal with universal are very rare indeed. I like the fact that we get this interesting story on Gin & Jazz and everyone will have their own perception. At its heart, it is a song that we can all understand and take something away from. Another reason why Jordan will be around for a long time is the way he connects with fans. His social media is updated regularly and you sense this is an artist who places the needs of his fans at the top of his list. The sense of passion and energy Jordan puts into his work is reciprocated by dedicated and loyal fans.

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His numbers are growing and I do wonder just how far the artist can go. I will discuss his future in a bit but, staying on this theme, there is stuff to uncover. I do think that music today is a very tough environment and how easy is it for anyone to succeed? There are so many challenges one must navigate and many find the pressure too daunting. The belief one has in their music and its power is at the centre of what artists do. If they have faith in what they are putting out then that sort of determination and focus will see them through. In a very packed and eclectic music world, the music needs to have that edge and U.S.P. I do feel that the generic are embraced too much and there is a feeling that cheap and commercial is much better than something a bit more challenging and intelligent. I am seeing attitudes change but look at all the huge artists that dominate Spotify and YouTube and their music is not nearly as exceptional and promising as the likes of Andy Jordan. Maybe it is impossible to change things in that respect but I know Jordan will continue to make big steps and recruit new followers. I do love what he is throwing out into the world and how he has grown since the start of his career. We have just experienced another Record Store Day and seen endless tweets regarding people buying records and racing to their local record shop. Yesterday was a hive of activity and excitement in the music community. I wanted to move on from my previous topic and address Andy Jordan in respect of Record Store Day and where he fits in. I’ll end the current subject by saying that, if he continues down the road he is on then Jordan can really shake things up in music or, at the very least, he can get some big gigs and record albums for many years. He has a great sound at his disposal and it is definitely something we near more of.

Going back to Record Store Day and, as I said, Jordan seems like the kind of musician who slots in with the day’s ethics. Record Store Day is about bonding people and discovering rare records; heading to your nearby record shop and spending some money on great music. Some argue that the day is fabricated and has no real relevance but, more than that, it is a day when we can appreciate record shops and how important they are. We spend every other day of the year on Spotify and other services and we tend to forget the joys of a record shop. Just heading down to your local and seeing like-minded people flicking through records and chatting is great. You get this community and connection that you do not achieve online. I think of record stores and associate them with cooler albums and stuff that you would not expect in the Pop mainstream. That might sound like a dig but I go to record shops to get either something classic or a new record that is not chasing chart positions. Actually, I love to go to a record shop and look through genres like Jazz, Experimental and Hip-Hop and collect albums that are a bit rare or do not get much of a spin. You want to discover albums that will take you somewhere special or are outside of your comfort zone. I get home, put the record on and let it immerse and envelop me. I am not sure whether Andy Jordan has had his music placed in a record shop but I can see him featuring in future Record Store Days. I get the sense Jordan would take delight in considering the colour of vinyl and making his release unique. Maybe he would have a special picture edition or have a few B-sides. Perhaps he would throw in a hidden track or release different versions of an album. I can tell that Jordan has a great love of music in its purest form.

You only need to listen at what he is doing now to realise Jordan wants to be in music for a very long time and connect with the world. He could have easily replicated Pop artists and produced something quite familiar but, instead, his music definitely charts its own course and does not apply to usual rules. I love the fact that there is this seamless blend of genres like Jazz and Soul but you do not have to be an expert in either to understand what he is doing. That makes me believe that Jordan’s music would be perfect for those who love to rummage through vinyl and spend a few hours chatting to similar souls at their local record shop. Perhaps I have got that wrong but I can detect a musician who thinks about his audience and the impact his music makes. In an industry where there is so much competition and pressure, having an artist think about every side and aspect is very pleasing. I have covered a lot of ground regarding Jordan and, whilst he does not put a lot of information online regarding his background, musical tastes and reviews – something he will want to consider going forward -, I hope I have managed to tap into his music adequately. That is another problem with many new artists: they let the music do the talking but there is not a huge deal regarding their history and likes. I would love to know the music Jordan holds dear and what his early life was like. You get a more complete image of the artist and it would bring him even more fans in. From looking at his Facebook page, I can tell he is influenced by the likes of Sam Cooke and Chet Baker and he began performing at school. I am not sure if there is anything else to fill in but I feel like there is more information and revelation that would give the listener a wider impression of Andy Jordan. Let’s move onto the new music from Andy Jordan and what Gin & Jazz is all about.

 PHOTO CREDIT: @jacklaexanderuk

There is some nice bass twang and some finger-flicking action that heralds in Gin & Jazz. Right away, I was caught between a Jazz club and its environment and somewhere more intimate – maybe the hero at home, trying to make sense of what is happening to him right now. There are a lot of deep-voiced and powerful singers around right now that, rightly, get a reputation for being a bit boring and samey. We have Tom Walker and Lewis Capaldi and, whilst they have their merits, there seems to be this formula for successful British males right now. Don’t let the deep voice of Andy Jordan lead you astray. His music, like many of his peers, does not rely on words being belted out and the same clichés being spouted. The opening to Gin & Jazz does not put the composition too high and allows the vocal to have much of the say. I am not sure whether the hero has broken with the girl and they are splitting but he implores that she returns to who she was: the girl of his dreams and back to a time when they were both happy. Rather than blame her and put his heart on a chopping board, Jordan keeps his composure and asks for some commitment and discussion. He longs for those nights where they were listening to Jazz and sitting beside one another. Maybe I am too premature regarding that assumption. I look at the song’s title and assume it refers to a routine Jordan and his girl used to enjoy. Maybe it is more about a carefree life the hero had when he was listening to records and did not really have the same pains he has in his life. The hero used to be haunted by demons and troubles and you wonder how long the relationship has been cracking. I keep switching between impressions of Jordan wanting the simpler days when he was a bachelor and the romantic ideal of him and his girl enjoying a pure and safe love.

There is no need for blasting horns and histrionics in the song. Jordan keeps his voice cool and calm and does not let anger show. Whilst the words are direct and clear, there are some oblique touches that allow one to have their own response and interpretation. I got images of the girl dropping off her keys and the hero being a bit lost. There are moments when you see Jordan listening to Jazz records and wondering how things went bad. We hear about the ship sinking and tears filling his heart. The reason behind the romantic distress is not clearly revealed so one has to come to their own conclusions. Maybe it is that the two are drifting in different directions and they are not the same as they were when they first met. Jordan longs for those past days – whether it is him and his sweetheart in their prime or a less responsible time – and wonders whether he will ever rekindle that spark and sense of comfort. The chorus layers the vocals and creates a real rush. I like the fact Jordan keeps the composition tight and colourful without throwing too much in. The focus is still very much on the vocal and what it is trying to say. Gin & Jazz has a definite pace and cool that sets it aside from a lot of what is out there right now. If the current mainstream relies on artists who belt everything and has a bit more energy, I do hope they consider songs that take their time to intrigue and resonate. I like Jordan’s style and how this endless sense of calm and cool rules. He does not need to get overwrought and distressed to make his words strike. We have this very honest song that regrets what has happened and tries to get back to times when he and his girl were happier and secure. There are greater little coos, licks and lines that give the song a real kick, sway and movement. You can easily bond with the song and get behind it but, the more you listen to it, the more that comes to light. I played it a few times and saw Jordan’s story from a different perspective. It is a great track from Jordan and I do hope there is more material coming from him in the coming months.

Andy Jordan is keeping his social media updated and, over the past couple of months, he has put up various videos and news. It has not been refreshed for a few weeks now but I do wonder whether that is just because he has a new song out and there is not much to say right now. I wonder whether Jordan is heading in the next few months and whether we can catch him on the road. There are some great venues around that would support his music and many will wonder whether an E.P. or album is afoot. I guess that is where interviews come in and many will keep their eyes open and wonder where the musician is going. I think that 2019 will be a busy one and we will get more material from Andy Jordan. He has a definite sense of ambition and momentum so it would be nice to see that reflected in more music. His sound has that real sense of beauty and emotion and is never too heavy-hearted or bleak. Instead, we have someone who has come a long way and has a pretty impressive fanbase at the moment. I neglected to mention that Andy Jordan used to be on the T.V. show, Made in Chelsea, because I feel it detracts from the music and gives people a certain view of who he is. I am not a fan of the show by any stretch of the imagination but I have featured another graduate, Caggie Dunlop, on my site before. I do think we can be a bit judgmental when we see someone from a reality T.V. show – not there was much reality on Made in Chelsea! One must judge Jordan purely as a musician and I feel that is where his strengths lie. Unlike a lot of people who have appeared on shows like Made in Chelsea, there is not this desire to be commercial and uncomplicated.

 PHOTO CREDIT: @jacklaexanderuk

Andy Jordan is more concerned with creating something with substance that means a lot to him. I might have repeated myself a few times through the review but that is why I am focusing purely on bigger artists very soon. It is nice to discover artists who can go a long way and you feel have the ammunition to succeed. I am not certain what Andy Jordan’s next steps are but I do feel like he has potential to strike hard. Make sure you listen to Gin & Jazz and discover a song that will definitely get under the skin. You need not be a huge fan of Soul and Jazz to understand what the song is about and why it is so good. You just need to open your mind and let the music do what it needs to do. It might have personal relevance to Jordan but many others can take it to heart and apply it to their own life. He may be fairly new regarding the music industry but it is clear, if Andy Jordan keeps focused and going strong, then he can create a sound, reputation and foundation that is…

VERY much his.                                                                                           

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Follow Andy Jordan

FEATURE: “Slicing Up Eyeballs/Ha, Ha, Ha, Ho": Pixies’ Doolittle at Thirty

FEATURE:

 

 

“Slicing Up Eyeballs/Ha, Ha, Ha, Ho”

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IMAGE CREDIT: Spotify 

Pixies’ Doolittle at Thirty

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I recall the time when I fell in love with this...

 IN THIS IMAGE: The cover for Pixies’ 1988 album, Surfer Rosa/IMAGE CREDIT: Spotify

rare album that seemed to touch area of my being none others had. Pixies released Doolittle on 17th April, 1989 (in the U.K.; the following day in the U.S.) and I didn’t really get a real whiff of it until the early part of this century. Not too long after leaving university, I was working in a hardware/homeware store and, as part of my role, I was charged with arriving early to greet the delivery that came in – and then would have to unpack various kettles, nails and homeware goods and put them on the shelves. I was alone in the shop until about eight in the morning and so I was allowed a bit of flexibility regarding noise and my selection of music. I vividly remembering bringing to work a stereo – this was before Spotify – and having a selection of C.D.s alongside it. My favourite early-morning pick-me-up was Pixies’ Doolittle. From the vivid and terrifying Debaser to the equally intense Gouge Away, it was a real experience! That sonic experience, of a morning, was more intense than a caffeine enema and more eye-opening than having a herd of camels fart in my face – I am not sure what the collective noun for a group of camels is! I was already a big Pixies fan and loved Surfer Rosa and Come on Pilgrim. They had already released epic songs such as Caribou (Come on Pilgrim) and Gigantic (Surfer Rosa) but Doolittle was their most complete work so far. In fact, it is debatable whether the band hit such heights through the rest of their career – they are still together today, albeit without one of their cornerstones, Kim Deal.

Pixies’ work between 1987 and 1988 was modest in scale and ambition but unique. The band received positive reviews for Come on Pilgrim and Surfer Rosa – essentially a twin-album rather than two releases – and they were working on a tight budget. Although Doolittle is not exactly a huge-budget extravaganza, one feels a definite increase in determination, quality and nuance by 1989. Doolittle, from its cryptic and memorable cover to its wide-ranging songs, is a true masterpiece. The album tackles subjects such as violence, torture; surrealism and death and, if that sounds intense and strange, it was handled in a very intelligent and mature manner. Doolittle never sounds too isolationist or intense; never quite as oppressive as its themes would suggest. The line-up of Black Francis, Kim Deal; Joey Santiago and David Lovering would not last too much longer owing to tensions within the band - which I shall address later. Whilst Steve Albini produced earlier work from the Pixies, Gil Norton was drafted for Doolittle and offered a more polished and cleaner production sound. That change of sound/producer was a sticking-point for some fans who felt the Pixies had lost some of their edge and raw sound by the time Doolittle was unleashed. One cannot argue against that. Whilst Norton did not create the commercial, mainstream album, Doolittle lacks the sort of grit and ragged edges that would have benefited the songs and band – a problem Nirvana faced on their second album, Nevermind.

Some would argue few of the tracks from Doolittle are commercially-aimed and would struggle in the charts. Here Comes Your Man and Monkey Gone to Heaven were released as singles and successes in the U.S. whilst Doolittle was an unexpected hit in the U.K. It is no shock that Doolittle captured a sense of energy and intent from Pixies. Surfer Rosa was a hugely-regarded debut and Black Francis was busy writing songs for the follow-up by 1988. Tracks such as Dead, Tame and There Goes My Gun were recorded during several sessions of John Peel’s radio show in 1988 and, by the middle of that year, the band were creating demos. It is a surprise the band managed to get recordings down considering they were in the middle of a tour at this point. They were putting down demos when they had breaks but one can imagine a certain tension and sense of expectation at this point. Liverpudlian Gil Norton was chosen to anchor Doolittle and, whilst this appointment proved divisive, he definitely took Pixies’ sound to new heights. It is the variety of material and the different moods explored that makes Doolittle so masterful. Rather than being an all-out attack or lacking any potency, you get these switches and polemics. Tame is a deliriously berserk track that lasts for a very short time but definitely sticks in the mind. Opener Debaser projects all kinds of evocative images: sliced eyeballs is among the most shocking, memorable and vivid Pixies ever created! Crackity Jones whips and sparks; there are barks and yelps and, yeah, it is distinctly the work of Pixies!

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 IN THIS PHOTO: Pixies (circa 1988/1989)/PHOTO CREDIT: Getty Images

The quiet-loud dynamic Pixies had mastered at this point would be taken on by other bands after Doolittle’s release – Nirvana among the more famous and prodigious exponents. Pixies had definitely matured and expanded their palette following their debut. I Bleed and Here Comes Your Man reveal a softer side and make Doolittle a more rounded, challenging and eclectic album. Pixies were not only relying on the basic structure of guitar-vocals-drums-bass for their explosion: violins and other strings were brought in to give songs such as Monkey Gone to Heaven extra depth and, strangely, elegance. There is a lot of sonic range on Doolittle and that is one of its big strengths. The band could have gone for an all-out thrash or something quite basic but, instead, they created this genre-fusing and cross-pollinating animal that was unlike anything at the time. They were also tackling themes such as ecological and environmental destruction and death alongside more traditional themes such as love and commitment. In fact, the lyrical individuality of Doolittle makes it such an enduring and enriching work. The band looked at prostitution (Mr. Greives) and the environmental ills of Monkey Gone to Heaven; Biblical imagery on Gouge Away and Dead and the terrific Kim Deal-penned song, Silver (Black Francis co-wrote the song). Francis was deeply into Surrealism and avant-garde films at the time of Doolittle so it was no surprise his lyrics would come with more trip, weirdness and eyebrow-raising imagery!

I will end by talking about the reception Doolittle was afforded and its influence but, only a short time into their careers, there were stressed and strains with Pixies’ camp. The source of the tension was between Black Francis and Kim Deal and, actually, one suspects that Francis was main instigator regarding hostilities and arguments! Although Doolittle started quite fun and professional, things soon changed and the mood became sour. Members of the production team and those close to the band – including the rest of Pixies – were often in the middle as Francis and Deal squabbled and fought. Following Doolittle’s completion, the band went on a tour (Fuck or Fight) and soon took a break – it was clear that there needed to be changed in the ranks and time away from one another. One is not entirely sure what the main issues were or whether it was a matter of control (Kim Deal wanting more input regarding songwriting) but I am amazed Pixies, as a unit, have survived to this day – even if Kim Deal split from the band a while ago. Deal would have limited say when the band recorded Bossanova in 1990 and Trompe le Monde the following year; the band was broken up by the start of 1993. Even though the spirit and unity of Pixies started to fade after Doolittle, one can attribute some of that nervous and combative energy to a certain quality on Doolittle. The album is hugely influential and has received scores of impassioned reviews.

In 2014, Pitchfork assessed the catalogue of Pixies and included a review of Doolittle:

“It’s in Doolittle's margins—the faux-hillbilly cackling of “Mr. Grieves,” “There Goes My Gun” and “Dead”—that the album becomes what it really is. At heart, the Pixies were a kind of American goth band, fascinated by rural violence, the intersection of lust and danger, creepy innkeepers and the sexual magnetism of strangers who wander into roadside cafés from parts unknown. Their biggest crossover single, “Here Comes Your Man,” is less tied to European dada than the rustic imagery of a pulp paperback: The boxcar, the nowhere plains, the big stone and the broken crown”.

AllMusic, in 2013, had their say:

“Though Doolittle's sound is cleaner and smoother than the Pixies' earlier albums, there are still plenty of weird, abrasive vignettes: the blankly psychotic "There Goes My Gun," "Crackity Jones," a song about a crazy roommate Francis had in Puerto Rico, and the nihilistic finale "Gouge Away." Meanwhile, "Tame," and "I Bleed" continue the Pixies' penchant for cryptic kink. But the album doesn't just refine the Pixies' sound; they also expand their range on the brooding, wannabe spaghetti western theme "Silver" and the strangely theatrical "Mr. Grieves." "Hey" and "Monkey Gone to Heaven," on the other hand, stretch Francis' lyrical horizons: "Monkey"'s elliptical environmentalism and "Hey"'s twisted longing are the Pixies' versions of message songs and romantic ballads. Their most accessible album, Doolittle's wide-ranging moods and sounds make it one of their most eclectic and ambitious. A fun, freaky alternative to most other late-'80s college rock, it's easy to see why the album made the Pixies into underground rock stars”.

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 PHOTO CREDIT: Getty Images/Press

Doolittle is seen, by many critics, as one of the best albums of the 1980s. The quiet-loud dynamic Pixies perfected was hugely influential on the Alternative-Rock scene. Nirvana’s Kurt Cobain was especially hooked and claimed that Smells Like Teen Spirit was a Pixies rip-off. Not only did Pixies’ Doolittle make a huge impact on bands coming through in the late-1980s and 1990s but, thirty years after its release, it is still viewed and a hugely important achievement. This article suggests which records influenced Pixies’ masterpiece whilst this piece from 2014 brought together Sean O’Neal, A.A. Dowd; Josh Modell and Evan Rytlewski as they discussed Doolittle at twenty-five. It is an interesting article and drew some illuminating reactions:

“Josh Modell: Doolittle is nearly perfect, and yeah, it seems almost insane to think that this is a watered-down version of anything. In fact, my first thought after hearing these demos—which are fascinating, though essential only for huge fans—was that whoever provided the direction for the album versions (whether that was Norton, the band itself, or some combination thereof) did an incredible job. Take the demo for “Wave Of Mutilation,” which has plenty of spunky energy but very little of the weird alchemy that the actual Doolittle version does. They took a song that was essentially a mess and sharpened its claws. It got stronger as it got slicker. In fact, I can’t point to a single demo on this disc that I prefer to the album version: “I Bleed” gets close, but that might be because its version here is notably close to Doolittle’s anyway. But “Dead” is actually far less crazy than the album version, as is “Crackity Jones”…

A.A. Dowd: I certainly won’t. As much as I’d like to voice some objections, and transform this Pixies lovefest into an honest-to-God debate, I just can’t throw any shade Doolittle’s way. The songs, the sequencing, the performances—they’re all too perfect. Unlike you, Josh, I still spin almost all of the band’s records (excluding Indie Cindy, because I don’t hate myself). Come On Pilgrimhas the funniest lyrics. Surfer Rosa has “Where Is My Mind?,” which conventional (and correct) wisdom will tell you is the Pixies’ greatest song. Bossanova has that gorgeous floating-in-space quality…

Sean O’Neal: Ultimately, the Pixies were as “real” as any major rock group, of course. Black and Deal each had careerist aspirations, and those came to a head almost immediately after Doolittle. By the time I got to them, they’d already broken up in the wake of an anxiety-ridden stadium tour with U2 (but a stadium tour with U2 nonetheless). So while I would probably also offer some very minor contrarianism here and suggest, gun to head, that the unhinged snarl of Trompe Le Monde is probably my personal favorite Pixies album, as Alex points out, I think the reason we regard Doolittle as the apex is because it’s the last record that truly feels like those four “regular people” made it together”.

Thirty years after its release, Doolittle sounds remarkably fresh; offering up new insights and revelations. You can hear so much of the album in bands of today working in all manner of genres. Whether it is a certain braveness regarding lyrics or that Doolittle-esque sound, the album continues to influence musicians and resonate. I listen to Doolittle and go back to my time, years ago, when I was in retail and was listening to the record at the crack of dawn and had that freedom. I think we should all mark its thirtieth anniversary on Wednesday and understand what an important record it is. A lot of seismic albums turn thirty this year but few have the same clout and reputation as Doolittle. It inspired Nirvana to take their music to new places and, as such, inspired a raft of bands following their split. In honour of its big birthday, I am going to put Doolittle and immerse myself in its sliced eyeballs, ecological foreboding and incredible band interplay. It is a wondrous record and, thirty years after its release, it still sounds…

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PHOTO CREDIT: Getty Images/Press

LIKE nothing else in the universe!

FEATURE: Drowned World/Substitute for Love: Madonna, Eurovision and the Ongoing Conflict Regarding Musicians Performing in Israel

FEATURE:

 

 

Drowned World/Substitute for Love

IN THIS PHOTO: Madonna/PHOTO CREDIT: @Madonna 

Madonna, Eurovision and the Ongoing Conflict Regarding Musicians Performing in Israel

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THIS is not the first time I have...

 IN THIS PHOTO: A shot of Israel/PHOTO CREDIT: @john_visualz/Unsplash

looked at Israel in a controversial light. Due to ongoing conflicts in the country, it is always difficult for artists to know whether they should play there. I shall come to that later but, right now, Madonna’s planned appearance at this year’s Eurovision (in Israel) is receiving some backlash. It is great that such an iconic artist would choose to play something, well, a little bit cheesy. I do not know why she is playing but there is talk she will perform a new track alongside a classic. Given the fact Madonna has pushed Pop and inspired so many artists, maybe it is not a shock to find her supporting Eurovision! It seems, as this article shows, there are those asking for withdrawal and reconsideration:

 “A group of Palestinian Arab academics and intellectuals are pressing Madonna to abandon her plans to perform at the Eurovision Song Contest, which will be held in Israel next month.

The European Broadcasting Union confirmed earlier this week that the pop icon will take the stage in Tel Aviv on May 28. It will be her fourth time performing in the Jewish state.

The Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) - part of a Boycott, Divestment and Sanctions (BDS) campaign – has called on her to cancel the performance, suggesting her appearance would be used by the Israeli government "to mask its deepening oppression of Palestinians."

A statement posted to social media by PACBI and quoted by SBS News read, "Palestinians hope that you will not undermine our struggle for freedom, justice and equality by performing at Eurovision in apartheid Tel Aviv, on the ruins of the ethnically-cleansed village of al-Shaykh Muwannis.”

"The call from Palestinian artists to boycott Eurovision hosted by Israel is supported by more than 100,000 people signing petitions, over 100 LGBTQIA groups, more than 20 Israeli artists, and hundreds of prominent international artists including the 1994 Eurovision winner,” the organization said.

"Israel's fanatic, far-right government is cynically exploiting your performance, and those of the contestants, to mask its deepening oppression of Palestinians," it charged”.

I have addressed the Israel issue before and whether artists should play there right now. In previous articles, I asked whether it was fair to deny fans the chance to see their favourite artists. Many Israeli citizens cannot afford to travel to another country/part of Israel to see a gig – hoping to avoid tension and judgement. Madonna is playing Eurovision, not to stir trouble or create publicity – although she has a new album coming soon -, but to deliver something special to the people. It is sad when politics and conflict impacts on music and creates negative energy around artists. Madonna does not have a political standpoint regarding the issues in Israel and is not looking to back either side. Instead, she just wants to perform and contribute to a special night. One could say that  music has nothing to do with politics –many seem to disagree. Madonna is known for supporting the L.G.B.T.Q.I.A.+ community and, back in the 1980s/1990s, putting the AIDS crisis into focus and generally raising her voice when it was required. She could easily weigh in on the debate and speak out but, rather than stir a hornet’s nest, she has remained relatively quiet. The iconic artists has been performing around the world for years and I do not think it is right for anyone to say whether she should be at Eurovision or not.

 IN THIS PHOTO: Machane Yehuda Market, Jerusalem/PHOTO CREDIT: @roxannedesgagnes/Unsplash

Other nations have issue regarding warring factions or there are political tensions but, in many cases, artists are not accused and told to stay away. Musicians want to connect with their fans and are not supporting atrocities when they play in nations ravaged by division. I have been reading an article from DAZED - written early last year - that looked back at the occasions where various artists have been faced with that questions: Do I play Israel or sit this one out?

“When Lorde announced a slew of international tour dates in support of her second album Melodrama last month, a scheduled show at Tel Aviv’s Convention Centre drew immediate criticism. An open letter titled “Dear Lorde, here’s why we’re urging you not to play Israel” was posted to The Spinoff, with the New Zealand musician subsequently cancelling the show. “I pride myself on being an informed young citizen… but I’m not proud to admit I didn’t make the right call on this one,” she said in a statement…

The controversy may seem familiar to music fans. Last year, Radiohead ended up in a similar situation with a show they had booked for Tel Aviv – but unlike Lorde, they went ahead despite the backlash. In recent years, artists from Lana Del Rey to Nick Cave have all drawn controversy over their decisions to either perform or not perform in Israel, while last August, more than eight artists withdrew from Berlin’s Pop-Kultur festival over its partnership with the Israeli Embassy”.

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IN THIS PHOTO: Lorde/PHOTO CREDIT: Getty Images/Press 

It seems, as Madonna will find, that whatever decision you make will result in backlash. If you perform in Israel then you are seen as sympathetic to the horrors being witnessed but, if you stay away then you are creating disappointment and anger from fans. How does someone like Madonna face something like this?! I feel it is hugely unlikely she will pull out of her planned performance because there are no ramifications or problems. She might draw a small protest but Eurovision’s sheer size and celebration means that will be all drowned out. One can look back at when Paul Simon recorded in South Africa during Apartheid when recording Graceland. He got a lot of flak for that but, more than anything, he helped raise awareness and give South African musicians a voice. I do feel artists can play in Israel and actually inspire change – rather than create this sense of divide and hate. The DAZED article continued and looked at an organisation that is stepping in:

“Inspired by the South African anti-apartheid movement, BDS is a non-violent, Palestinian-led campaign that protests the Israeli occupation of Palestinian land. As Amnesty International report, Israel has occupied Palestinian land in the West Bank, East Jerusalem, and the Gaza strip for decades in violation of various international and human rights laws.

BDS argues that the music industry should be subject to the same scrutiny as any other industry that’s operating within Israel. PACBI (the Palestinian Campaign for the Academic and Cultural Boycott of Israel) agrees, saying that Israel uses culture as a weapon and a form of propaganda to whitewash, or ‘art-wash’, the actions of the state. “The cultural boycott of Israel is inspired by the South African anti-apartheid struggle,” says PACBI’s Stephanie Adam. “(During the 1980s) international artists refused to play Sun City in response to the calls of Black South Africans not to do ‘business as usual’ with apartheid.”

IN THIS PHOTO: Gil Scott-Heron/PHOTO CREDIT: Getty Images/Press 

Many musicians have supported the cultural boycott. Scheduled concerts from Lauryn Hill to the late Gil Scott-Heron have all been axed in the past, while Princess Nokia cancelled her slot at Kalamazoo Festival last year. Outside of Israel itself, BDS asks artists to decline participation in anything sponsored by the Israeli government, which is what happened at Berlin’s Pop-Kultur last year. This year, over 100 artists (including Brian Eno, Kathleen Hanna, Talib Kweli, and Roger Waters) have signed an open letter supporting Lorde’s decision to cancel her Tel Aviv show, while rapper Vic Mensa recently penned an op-ed describing his experiences in Palestine.

However, many musicians have gone ahead with scheduled performances in Israel despite calls to cancel. Lady Gaga, Justin Timberlake, and Macy Gray have all played (though Gray later said she regretted it), while two high profile examples last year came from Radiohead and Nick Cave. Speaking at a press conference in Jerusalem, Nick Cave said he wanted to “make a principled stand against anyone who wants to censor and silence musicians.” When Radiohead went ahead with their Tel Aviv show, frontman Thom Yorke issued a statement: “Playing in a country isn’t the same as endorsing the government… We don’t endorse (Israeli Prime Minister) Netanyahu any more than Trump, but we still play in America. Music, art, academia is about crossing borders not building them”.

Would artists like Madonna be turning a blind eye and encouraging the current state of affairs if they boycotted? I do not see what artists have to gain from overlooking Israel. Their fans are being denied and it is ridiculous telling musicians to stay away. Unless an artist has an overt political opinion that could exacerbate the situation then I see no harm in them performing. Surely?!

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 IN THIS PHOTO: Nick Cave and The Bad Seeds/PHOTO CREDIT: Getty Images/Press

With conflict in Israel still raging and there being this gulf, how long is it going to be until artists can safely and ethically play in the country? I guess there are neutral zones and areas where they can perform but it seems extreme having this map of regions they can play and keep everyone happy. Music has the power to break barriers and bring people together but, right now, there is too much separation. The latest incident regarding Israel and their views regarding outside artists playing gets me wondering. Madonna, I hope, will play and not feel quelled but you have to ask whether, in a short time, artists will be banned altogether. There are problems in multiple countries around the world but very few of them have created such discussion as Israel. The Israeli music scene is so strong and vibrant and I feel like it is being robbed or substance and support – so many artists from the West feeling they have to boycott. I do hope that Madonna is not tarred and feathered and feels she needs to rationalise her decision to play next month. I do feel like she can be a positive influence in this situation and show that, above all else, the music is king and she is not spreading propaganda. It is a shame that artists have to face such attack and pressure when performing in a country. If we deny fans the chance to see their favourite artists them we are robbing them of something precious. For the sake of everyone in Israel and musicians, let’s hope that there is an end to the conflicts…

PHOTO CREDIT: @Madonna

VERY soon indeed.

FEATURE: Groove Is in the Heart: Record Store Day 2019: How Records Have Changed My Life

FEATURE:

 

 

Groove Is in the Heart

PHOTO CREDIT: @black_onion/Unsplash 

Record Store Day 2019: How Records Have Changed My Life

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WE are coming to a close on this year’s…

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 PHOTO CREDIT: @joseantoniogall/Unsplash

Record Store Day and I have been keeping abreast of all the happenings and news. There are those who ask what all the fuss is: Should we dedicate a special day to record shops or do so the entire year. Others say that vinyl is a thing of the past or it is a bit stupid having one day of the year where we all go nuts over records. Today is much more than that: tribes of record lovers around the country are connecting, finding new discoveries and showing their passion for music of all genres. Every year sees limited edition records and gems for those with the desire. Whether it is a picture disc or a n older record being released; a long-forgotten single being given new shine and release or something classic for new fans, how can one refute the pleasure and allure of Record Store Day? Some people have been queuing outside their local shops since yesterday afternoon and it is amazing to think how dedicated you have to be. I was going to approach this article from a different standpoint but I was led to a great article from Caitlin Moran. I have been a fan of her work for a while and love what she does for The Times and The Sunday Times. I have been looking at my future in journalism and wondering whether I am ambitious enough. For years, I have been reviewing and interviewing small acts and not really getting pleasure out of it.

 IN THIS PHOTO: Kate Bush (in a promotional shot for her 2011 album, Director’s Cut) - she is the artist I want to interview more than anyone/PHOTO CREDIT: John Carder Bush

I want to approach the big acts but feel I need to do all this groundwork to get their attention – to the point where it is exhausting and a lot of the pleasure has escaped. I know I need more followers on social media but, to get those, I keep having to review a lot of smaller artists so I can build the numbers. It is like being trapped under ice in a sense: I can see a way through to somewhere I need to be but, at the moment, things are a bit bad. Music, outside of what I do, has provided some guidance and, when listening to classic artists, I realise why I am doing all of this. Next year, to me, is when I need to start getting realistic regarding my talents and the type of folks I should be featuring. I am listening to Fleetwood Mac (Hold Me) whilst typing this and, aside from them, there is a wish-list of artists I want to approach. My dream interviewee would be – as always has been – Kate Bush and I think, unless I start getting more ambitious then that possibility is never going to be fulfilled. I digress but, over the past couple of weeks, the stress of ambition and a sense of dissatisfaction has led me back to my roots; my love of the artists who have guided me and played such a role in my life.

 IMAGE CREDIT: John Patrick Salisbury

Moran’s piece concerned the notion of our younger selves. We might have had embarrassing tastes in music and T.V. or been hard on ourselves; perceived as a little dork-like or foolish. It is an article worth reading but there were some passages – maybe more pertinent to Moran herself – that caught my eye:

 “We all were, of course, more foolish when we were younger. A human being is just a collection of actions and emotions, and we tend to refine, and improve upon them, as we age. If you haven’t tweaked yourself over a couple of decades as you come across new information, then you are, presumably, made of wood.

Having, then, been suitably emotionally primed to be embarrassed to listen to Jagged Little Pill, the writer put the needle on the record. And even though she had a Proustian rush over what the album had meant to her when she was 12 – “I remember the shock of recognition at her long-ass tangly hair. She was a weird, dirty, uncontainable girl just like me … Holy f***, did [the lyrics] speak to my sense of not being nearly good enough” – she ends up texting a mea culpa to her husband: “This [album] is actually Very Bad.”

If, in a fit of fortysomething aesthetic spring-cleaning, you trash everything you were before – if you deny your heroes, your songs, your history – you’re selling out the only person who has believed in you, and gunned for you, since day one: you. Don’t. Play her song, and send her all your love”.

I have been looking at the Twitter feeds of all the record shops celebrating today and the effect Record Store Day is having. People are bustling and clambering for their favourite records; seeking those rare diamonds and, as much as anything, bonding with like-minded souls. The reason I have cited a Caitlin Moran article is (because) music played such a pivotal role in my early life. I often think of my pre-teen and teenage years as embarrassing and wasted. I think we all get into that headspace where we feel we were a bit nerdy or unsure; liable to making bad decisions and mistakes. We should be proud of our younger selves and who we were. Whether we were lonely or had a taste in music that clashed with our peers, that has made us who were are now. Moran explained how important that younger self is to who we are today –“For the weird backwardness of time means that your teenage self was the mother of who you are now” – and why we should embrace them. My Fleetwood Mac playlist has taken me to Stevie Nicks’ Dreams and, appropriately, it casts my mind back to the 1990s and a time that started my musical quest. I turned thirteen in 1996 (9th May) but my love of vinyl began sooner than that. My mum had (and still does) a vinyl cupboard where she had the likes of The Beatles and The Small Faces rubbing shoulders. The young me was filled with curiosity holding these larger-than-life records in my hand; marvelling at the colourful artwork and the physical sensation.

 IN THIS PHOTO: Fleetwood Mac being interviewed in the U.S. in 1975/PHOTO CREDIT: Polaris

I was subjected to countless days where an array of great records were being played. Whether experiencing the sweet sounds of Fleetwood Mac being played as the needle lovingly kissed between the grooves or discovering the best new sounds around, records were a huge part of my early life. As I grew into my teen years, C.D.s became more of a focal point but I never abandoned that love of vinyl. Right from my earliest experiences of music – including playing cassettes from a red, portable tape player on a go-kart as me and my friends pedalled around the block; delirious and propelled by artists like The Beach Boys and T. Rex – I have gained this sort of connection and understanding. I graduated to C.D.s and went through the MP3 phase (what the hell was THAT all about?!); I have embraced social media and streaming services but, above all, I have records to thank for my love of music. I look back to my childhood and teenage discoveries and vinyl always comes to mind. I recall hearing The Beatles for the first time as a child at home; listening to these huge artists via this rather quaint and magical record player. Me and my friends would discuss music and there was this real sense of community, bonding and understanding. I am not sure music is shared in the same way and has the power it did back in the 1980s and 1990s.

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 IMAGE CREDIT: Getty Images

The 1990s was a formative period for me and, from the early blossom at the turn of the decade – when the likes of Soul II Soul and Deee-Lite were putting out these life-affirming records – to the rebirth of British Dance and Electronic music at the end vinyl, again, was at the heart. I do not think my love of records has ever faded and, even today, nothing gives me more joy than buying a cool record. My favourite record shop, Brighton’s Resident, has been inundated with hungry punters today…and I take great joy in going there and snapping up records I should have bought years ago – Joni Mitchell’s Blue was the last I bought there, but there are some rare singles and great Hip-Hop records I still need to own. One need not have an agenda when it comes to records: sidle in, browse the genre sections and you’ll find some albums that you never knew you needed – but you definitely do need them! I think it was the way I was raised and (the fact) vinyl was part of my earliest days means that I still seek out records in a very obsessive and primeval manner. I have been doubting my abilities and purpose when it comes to journalism; wondering if the younger me would be proud. If the article I quoted thinks about how we as adults look at our teenage selves, I wonder what the thirteen-year-old me would say to the thirty-five-year-old now?!

PHOTO CREDIT: @kj2018/Unsplash

Back then, I was listening to some cool music but there were some records that were a bit square; maybe some cheesy ones and I was never one to follow general trends. Back then, you get it into your heads that you are not being understood and that you are the only one who has this taste in music. It was, at times, alienating and lonely; the teenage version of me listening to records wondering if something was wrong or I was a bit silly! It was only later in life that other people felt the same way. I think it takes until adulthood and days like Record Store Day when you know there are so many others who grew up listening to the same stuff you did and, when you see them sharing their love and records, you feel less alone and like you are part of the family. Of course, I was not to know that back in the 1990s but I realise that there were so many people out there like me as teenagers. So many feeling a little strange and outsider-like; listening to a wide array of music and wondering if we were cool. Those who were listening to the charts and what was ‘trendy’ might have been more popular and happier…but those of us who dug deeper and really appreciated music in all its possible iterations were really the cool ones.

 PHOTO CREDIT: @mensroom/Unsplash

Teenage years and childhood is hard for us all and I realise that records were a way of coping and feeling less alone. I can look back and be proud of the younger me because, even if it felt like I was a bit dorky and too obsessed with music (rather than people), I would not be as far along as I am now if I was different back then! It is a shame we cannot travel back in time and get how important records are and how they will shape our lives. Most of my happiest memories of my younger days revolve around music and I cannot explain how important records were to me; how vital they are not and how ingrained they are into everything I do. They got me through deaths in the family and the blackest days. They scored those carefree days when nothing mattered and they were my introduction to new horizons. I am proud of all the silly records and stuff that others might consider a little crap. Everything has shaped me and made my life much more interesting than it would otherwise have been. Record Store Day is a chance to unite with people now and support your local record shop but it is also an opportunity to look back and understand how records have shaped us. A lot of bad days greeted me growing up and, at times, it felt as though nobody understood me or was on my side.

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 IMAGE CREDIT: Spotify

Music was always there and who knows what would have been was it not for the great albums that kept me focused and lifted – from the vinyl my parents played to the new treasures I bought and squirrel away. I was, as I explained earlier, going to write about Record Store Day in more general and academic terms – regarding the biggest new releases and those rare records you want to get – but I have, instead, taken the chance to look back and try to explain how important records are to me. It is days like today where I get the chance to think back to my childhood and understand how important music was. I think we all get into the mindset where we think our young selves were a bit clumsy and we have, since, grown to become something more respectable and sensible. In many ways, we were far more interesting back then than we ever knew. I feel music is such a big part of a person’s identity and we cannot judge anyone based on their tastes. Whether a record seems a bit lame or not, it means something to someone and, for that reason, it is very special. Everyone gravitates towards various albums for different reasons and they speak to us all differently. There will be many children and teenagers today who feel the same way I did back then – whether they are listening to vinyl records or streaming them – and wonder whether they belong or are alone.

 PHOTO CREDIT: @elliot_drew/Unsplash

It might take a while but you will grow to realise who you are now is a lot stronger and cooler than you think. Embrace everything you listen to because, when you grow to adulthood, you’ll not lose that love of records and discovering every sub-genre, strange aside and absolute banger. It is our unpredictable tastes and personal loves that make us what we are and make us such strong and compassionate adults – whether we know the fact or not! Between the grooves of beloved records, so many people have unique memories, happy days and visions that are hard to put into words. There is something magical about records, vinyl and the way it gets into the soul. Record Store Day is a perfect chance for us to underline the importance of record shops: sanctuaries and temples eager and pocket money-wielding children like me used to frequent and go nuts-bananas over these intoxicating and beautiful objects. Maybe we felt a bit misunderstood back then and felt our tastes were a bit weird. I definitely felt that way but, looking back after all this time, I know me and so many others like me were, actually, much more special than we gave ourselves credit for and, because of that, records will always have a huge place…

PHOTO CREDIT: @lensinkmitchel/Unsplash

IN my heart.

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

FEATURE:

 

 

Sisters in Arms

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IN THIS PHOTO: Anna of the North 

An All-Female, Spring-Ready Playlist (Vol. VII)

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EVEN though it is Record Store Day...

 IN THIS PHOTO: Fanclub/PHOTO CREDIT: Marshall Tidrick Photo

and I should be writing about that – I will be later on – I was keen to celebrate the great female-led music at the moment. Among these new tracks, there is a great range of sounds and genres. It is incredible seeing all the fantastic music being made by women at the moment. Some might say one should not do an all-female playlist as it someone makes worse the issue of sexism – women should not be defined in terms of gender and should not need that ‘special’ treatment. I disagree and feel that, at a time when there is sexism in the industry, it is important to celebrate the great women who are making some incredible music. Take a look at the brilliant tracks here and I’m sure you’ll find a lot in here that gets you in a better mood. The weather is a bit crap at the moment so we need a musical lift. Here, for your weekend pleasure, is a selection of great songs that will definitely…

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IN THIS PHOTO: Lily Moore

BRING the sunshine.

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

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Hope Tala – Lovestained

Navvy – Subliminal

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Aisha Badru – Enough

Gia Margaret – Birthday

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Bailey Bryan - Perspective

PHOTO CREDIT: Jake Villarreal

Fanclub – Uppercut

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PHOTO CREDIT: Wilk

Meg Mac – I’m Not Coming Back 

Jackie Mendoza - Mucho Más

PHOTO CREDIT: @create_often

The Naked Eye – Tell Me

Anuka – First to Know

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Ellie Goulding – Sixteen

Chloe Castro – Drunk

PHOTO CREDIT: Ingrid Pop 

Aldous Harding – Fixture Picture

Elle Varner – Kinda Love

Anna of the North – Used to Be

Paytra – ToTo

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Lily Moore – Why Don’t You Look at Me

Jessica Mauboy - Sunday

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Grace May - Quiet

PHOTO CREDIT: Dan Wiebe

Chloe Foy – Oh You Are Not Well

Emma Blackery – Cute Without You

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Caswell – Surface

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Hey Violet – Better By Myself

Sody – The Bully

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Hannah Jane Lewis – The Middle

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Madelin – Monarch

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Eloise Viola – Think About You

INTERVIEW: Fletcher Pilon

INTERVIEW:

Fletcher Pilon

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I have been finding out about Fletcher Pilon...

and his new E.P., Thoughts. He discusses his musical tastes and upbringing; a few albums that are very important to him and what the music scene is like in Australia at the moment – he picks a few rising artists to look out for.

I wanted to know if there are going to be any tour dates coming up and whether he will come to the U.K. at some point; how he relaxes away from music and which artist he’d support on the road if he could – Pilon chooses a classic cut to end the interview with.

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

I’m fantastic, thank you! This has been such a great week with releasing my Thoughts E.P. and playing the release show with my band in Indy Linzbichler and Grace Labrum at the Avoca Beach Hotel on the East Coast of Australia the next day. It was actually my eighteenth, so really the best way to spend it!

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

Hey. I’m Fletch! I’m from the Central Coast, Australia and play singer/songwriter music with some Rock influence. I’ve recently started playing with a band and bringing in some more riff-based songs as well as the Folk-influenced songs. I wrote from a place of contemplation and thought and always want to comment on something in my music.

I love poetry so elements of that come through my songwriting.

Your E.P., Thoughts, is out. What was it like putting it together? Was it quite a rewarding experience?

It was an incredibly rewarding experience. I wrote these songs by myself in my bedroom, so seeing how they came together with the band in a recording sense was just awesome. I’m just so happy that people finally get to hear all these things that I’ve wanted to say.

Are there any songs that stand out as personal favourites?

All the songs hold a deep meaning with me. In terms of lyricism, Thought Song is one that I’m really proud of. From commenting on corruption of innocence in modern media, to mining; the education system, politics and a whole lot of other things…I’m so lucky to be able to release music like this song - that is a reflection of how I approach life.

Do you remember when music came to you? Did you always grow up around different sounds?

Since I was young, I’ve always been drawn to music. I remember being only three or four and knowing all the words to a Play School album. Haha. My dad also plays guitar, so that definitely helped get me into it when I started playing and writing songs at about twelve.

Are there any ambitions for the rest of 2019 in terms of music and plans?

We’re playing some shows with the band soon and looking to add some more for June/July. I’d love to potentially record some more this year but, at the moment, I’m stoked to see out this Thoughts E.P. and the things that come with that.

Being based in Australia, what is the music scene like there? Which towns and cities do we need to look at regarding the best talent?

I’m from the Central Coast - which is about an hour north of Sydney, Australia. Sydney has an awesome music scene with lots of new bands and awesome venues. Melbourne is also hugely music-orientated; Australian music feels to be in a fantastic place at the moment.

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

Winning Australia’s Got Talent in 2016 will always be a monumental highlight for me. It was such a moving and special experience in dedicating my performances to my late little brother, Banjo. I was so honoured to be able to share his story and spread his positivity for life.

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

Definitely Bob Dylan’s The Times They Are a-Changin’. The lyrics on this album and the way he approaches songwriting inspires me tremendously. I teared up when I first listened to the song With God on Our Side and that weight of emotion is something that I’d like my music to bring to someone.

The Beatles’ Abbey Road is one of my favourite albums. I was on the train to Sydney when I first listened to it and I had an epiphany-like experience. From the emotion and craft in writing it just cut straight through to me.

Another album that I just admire is Jeff Buckley’s You and I. It’s a collection of demos he did as live takes that was only released a couple of years ago. His voice is just magnetising and honest. I love Julia Jacklin’s Don’t Let the Kids Win for the same reason.

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

Bob Dylan and a bottle of kombucha for rider. Haha.

Are you planning any gigs in the coming months?

Yes! Playing a few shows around the East Coast of Australia:

Sunday, 14th April - Going Off at The Swamp (Central Coast)

Sunday, 21st April - Seaview Tavern (Woolgoolga, N.S.W.)

Friday, 3rd May - Some Velvet Morning (Melbourne)

Sunday, 5th May - The Newsagency (Sydney).

And also more shows to be released soon…

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Might we see you in the U.K. this year at all?

Potentially, I’d love that! I’m planning on coming next year - once I finish school - for a bit of a music holiday with my girlfriend.

How important is performing? Do you prefer it to life in the studio?

Performing is my favourite thing to do in music. I love being in the studio but nothing compares to interacting with an audience and sharing that experience - especially when playing my own songs.

 IN THIS PHOTO: Julia Jacklin/PHOTO CREDIT: Nick Mckk

Are there any new artists you recommend we check out?

I love Julia Jacklin’s music and fully recommend that. Didirri and Joel Leggett are also sick.

 IN THIS PHOTO: Didirri

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

Music can often be my chill from music. I love coming back to sitting in my studio and writing songs. I also love surfing, so the ocean is where I turn to reset.

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).

Awesome, cheers! With God on Our Side - Bob Dylan. I think the more people that appreciate Bob Dylan the better the world will be. Haha.

Thanks heaps!

Fletch.

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Follow Fletcher Pilon

FEATURE: The April Playlist: Vol. 2: It’s Human If Everybody Hates You

FEATURE:

 

The April Playlist

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IN THIS PHOTO: Courtney Barnett/PHOTO CREDIT: Elizabeth Weinberg for GQ

Vol. 2: It’s Human If Everybody Hates You

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AS we move further into April…

 IN THIS PHOTO: The Raconteurs

I am finding music broadening and providing more treats. It is always hard predicting whether a week will be big regarding new releases or a bit underwhelming. This week is a pretty good one as we have new releases from Courtney Barnett, MARINA; The Chemical Brothers and The Raconteurs! That might seem impressive but have a look down this list and there are so many other giant artists bringing us fresh sounds this week! It is hard to take it all in but, as I must, I have collected together the best tunes from the week: from the mainstream acts through to those in the underground, it is another ripe and interesting one for fantastic music. Have a listen through this collect of songs and I am sure you will find something in there that takes your fancy. The weather is not too great at the moment so settle down with some great tunes that will soothe the soul! Things have been a little mixed regarding new music but, as this week shows, the very best are…

 IN THIS PHOTO: MARINA

STRIKING back hard!  

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

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Courtney Barnett - Everybody Here Hates You

MARINA – To Be Human

Anna of the North – Used to Be

PHOTO CREDIT: Vance Powell

The Raconteurs - "Hey Gyp (Dig the Slowness)"

Tame Impala - Borderline

King Gizzard & The Lizard Wizard – Plan B

PHOTO CREDIT: Hamish Brown

The Chemical Brothers - Bango

Anderson .Paak – Yada Yada

Self Esteem - (Girl) Crush

PHOTO CREDIT: Daniel Dorsa

Sinkane – Dépaysé (Mad Alchemy Visual)

Local Natives - Tap Dancer

Christine and the Queens - Comme si

Beirut - When I Die

PHOTO CREDIT: Neil Krug

Cage the Elephant - Goodbye

PHOTO CREDIT: Richmond Lam

Broken Social Scene – Big Couches

Emma Bunton – Emotion

AURORA - The Seed

Nilüfer Yanya - Baby Blu

Mattiel - Keep the Change

PHOTO CREDIT: Rachell Smith

Jessie Buckley – Country Rose

Ellie Goulding – Sixteen

MarthaGunn - Saint Cecilia

Faye Webster - Flowers

The Amazons – Doubt It

PHOTO CREDIT: @lacay.o

Amyl and the Sniffers - Got You

Lil Peep – Gym Class

Bear's Den - Laurel Wreath

IN THIS PHOTO: Avicii

Avicii (ft. Aloe Blacc) - SOS (Fan Memories Video)

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Maren Morris - Kingdom of One (from For the Throne (Music Inspired by the HBO Series, Game of Thrones) 

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Hey Violet – Better Be Myself

Norah Jones – Begin Again

Dylan Cartlidge - Higher

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Rob Thomas – Timeless

Band of Skulls – Love Is All Your Love

Grace Ives – Anything

TRACK REVIEW: PJ Harvey (ft. Gillian Anderson) - The Sandman

TRACK REVIEW:

 

PJ Harvey (ft. Gillian Anderson)

IN THIS PHOTO: PJ Harvey/PHOTO CREDIT: Seamus Murphy 

The Sandman

 

9.6/10

 

 

The track, Sandman, is available via:

https://www.youtube.com/watch?v=iD-nSQXlhyo

GENRES:

Experimental/Ambient/Other

The album, All About Eve (Original Music), is available via:

https://open.spotify.com/album/7tEAYxNmHCO75FI4CHDsTy?si=8g3EUouhQ1ysl13NWwmfpA

RELEASE DATE:

12th April, 2019

LABELS:

Invada Records/Lakeshore Records

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I like my Saturday slot...

 PHOTO CREDIT: Getty Images

because I get to look at an artist who is established and someone I know will provide the goods. On this occasion, it is the turn of PJ Harvey. I will talk about the work she has produced for All About Eve – a play running in London concerning an aging Broadway star who gets her career and life threatened by an ambitious fan – but I wanted to talk about other things first. I have wanted to discuss PJ Harvey for some time now and, with an album of original music out, this seems like the perfect chance. I was not expecting any new music from Harvey this year but, as this Rolling Stone article from last year shows, we have been building up to it.

“PJ Harvey will provide the score for an upcoming stage adaptation of the classic 1950 film All About Eve. The adaptation has booked a three-month run at London’s Noel Coward Theatre beginning February 2nd.

The Academy Award for Best Picture-winning All About Eve, itself an adaptation of the play The Wisdom of Eve, starred Bette Davis as a Broadway star and Anne Baxter as a young fan of the actress. In the London staging, Gillian Anderson will take on the Bette Davis role while Baby Driver‘s Lily James will portray the adoring fan.

Harvey previously provided the scores to documentaries like 2005’s Ukrajina and Towards Mathilde, as well as the 2016 play The Nest”.

The play has received huge praise and it will be a shame to see its run come to an end. I will circle back to that but, when thinking about PJ Harvey, I wanted to discuss these huge artists who keep on growing and inspiring; those who step into stage/screen scoring and uniting music and drama; why artists like PJ Harvey are making me hopeful for the future of music and actors collaborating in music. I will start by looking at PJ Harvey because, back in 2016, she released The Hope Six Demolition Project. It was another well-received and fantastic album from the icon.

 IMAGE CREDIT: tomhermans

Look back at her career and has there been another solo artist over the past couple of decades who has been able to match Harvey’s innovation, quality and impact? Albums such as Rid of Me (1993) are among the best albums ever released. That album, as the title implies, saw Harvey discover the dark side of human nature. In fact, she was exploring it fully and created this very challenging and bold soundtrack. With Steve Albini producing, many raised their eyebrows and were not sure. The results speak for themselves. I adore that album but am aware that it is quite challenging and black. Stories from the City, Stories from the Sea came in 2000 and it was another terrific album. Somewhat lighter and inspired by New York, the album is another remarkable move. Look back at the career of PJ Harvey and you are amazed by the scope and quality you find. From her debut, 1992’s Dry, through to her current movements, there is this unique stamp and sound that only PJ Harvey creates. Her best modern-times album, Let England Shake (2011), was nominated for a Mercury prize and was another genius release. It has been a busy career for Harvey and, through the decades, she has changed the face of music and inspired so many other artists. I am excited to see what comes next from Harvey but, if you are new to her work, go back through the back catalogue and discover this phenomenal songwriter. At times raw and open, at others warm and inviting – here is an artist who is never predictable and puts so much emotion and honesty into her work. As it is Record Store Day today, what better excuse do you need than heading down to your local record shop and picking up a PJ Harvey album?! She will continue to inspire artists for generations to come but, at a time when there is a new generation of female songwriters shining, one would do well to look back at Harvey’s work and realise how influential it is.

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 PHOTO CREDIT: Seamus Murphy

One of my biggest complaints is the lack of female artists booked to headline festivals. I have moaned about this for a long time and I do wonder whether there will be a resolution. This year’s biggest festivals have booked all those headliners and, once more, there are very few female artists to be found. I did wonder why PJ Harvey wasn’t booked to headline at least one festival this year because, in my view, she would put on a storming set! One cannot say there is a lack of worthy female talent ready to headline. The industry gets it into their heads that men are the most competent and bookable artists and they have been ignoring great women for decades. PJ Harvey’s immense body of work tells you that, here, there is an artist who is perfectly capable of headlining a festival and doing a much better job that a lot of the acts booked this year. I digress but it is frustrating when you have this world-class artist like Harvey and see her overlooked. My main point was to illuminate her catalogue and show you what a terrific artist she is. She seems to keep growing in terms of curiosity and scope and, looking ahead, I wonder how this will manifest itself. This year has already been busy and exciting; I wonder whether we will see any other big albums arriving in April. Every year provides huge quality but I think 2019 has been especially bold and exciting. Not only has film composition become broader and attracted big names to its fold but the same can be said for the theatre. I do wonder whether music needs to play a bigger role in the arts in general. I shall talk about that in just a second but I would suggest, for anyone reading this, they investigate the work of PJ Harvey and make it part of their lives! She is one of the best songwriters of the past couple of generations and I hope we see many more records from her.

PHOTO CREDIT: Getty Images 

I will discuss All About Eve in a bit but I have been left a bit cold by British drama. We do theatre really well but, in terms of T.V. drama, we go down the same path all the time. We are obsessed with police dramas and domestic scenes. Look at all the biggest dramas on our screens now – and those that have appeared through this year – and there is very little variation and excitement. Not only are the dramas completely humourless and samey, we seem to have it in our heads that people want to see the same thing. The Americans have lots more imagination when it comes to drama. They can explore exciting areas and topics that brilliantly translate to the screen. We here need to watch the Americans when it comes to drama and realise that more ambition and bravery results in genuinely moving pieces. I do wonder whether the link between music and drama is not being exploited. PJ Harvey has collaborated with musicians James Johnston and Kenrick Rowe and brought new life and dynamics to the play – adapted from the film of the same name. I ask myself why British drama-makers tend to get fixated with the same boring themes and do not really stretch their imagination. Look at what is happening on the stage and it is so much more exciting and original. I do wonder whether T.V. producers and directors should look at the theatre and bring some of that magic to the box. I do like the fact that a big musician like PJ Harvey has decided to step into this medium. Not only should T.V. dramas borrow from music and periods of music for inspiration but they could do well to make music a bigger part of things. Another thing I am noticing is more and more popular artists composing for the stage and screen. This is one of the biggest changes that has happened over the past few years.

 IMAGE CREDIT: Mai Blanco

Look back at the classic film scores through the decades and they are all composed by traditional composers. Now, more and more films, plays and shows are being scored by more familiar musicians. Radiohead’s Thom Yorke and Johnny Greenwood have composed for films; this article shows other big names who have moved into film and it is exciting to see the nature of scores changing. In many ways, the more open and diverse compositional market means that great films are being given more energy, possibility and nuance. This also applies to the stage. Think about what the likes of PJ Harvey are doing and how the music and performances interact. I often think about theatre and music and assume there is not going to be too much to highlight. There are some great film scores but do we really connect musical brilliance and theatre together – I mean, outside of musicals and that kind of thing? Harvey wanted to work on All About Eve so she was free from the constraints of songs. She does not have a songbook to work from and does not have to fit her music around lyrics. Instead, there is almost like this blank page where she can work from. Get the soundtrack now and you will be blown away by the various moods and stories being told. I do think that many people will come and see the play based on the music. I do think music and artists can heighten productions and add something brilliant. I have bemoaned the lack of great British dramas but I do feel like changes can be made. Understanding the importance of music in general and how that can elevate scenes; pushing the envelope in terms of concepts and synopsis’; expanding the spectrum and dipping into areas away from family/police dramas and realising there is a whole world out there. Maybe I am rambling but I am excited to see how music and theatre interact. I think imaginative music can lift acting whereas a great performance can bring something new from music.   

PHOTO CREDIT: Getty Images

Before I move onto reviewing a track from All About Eve, I wanted to mention actors and collaborations with musicians. Gillian Anderson sings on The Sandman and she appears in the London play with Lily James. I am a big fan of Gillian Anderson and, if you do not follow her on social media, make sure you correct that. She is charming, cheeky and cool and makes you smile! She is a fantastic actor and I do think she is one of the most underrated talents out there. I think she lives in London at the moment and I wonder whether she will appear in British dramas/comedies very soon. Right now, she can be seen in the T.V. show, Sex Education. As she revealed in this article, she had the chance to play a less-than-serious character:

“I’ve always played such serious characters before,” Anderson said by phone from London, where she is rehearsing for a forthcoming stage production of All About Eve, in which she’ll star alongside Lily James. “I’ve never had an experience like that where I’ve gotten to just let it all hang out, so that in and of itself was such a pleasure.”

A show about teenagers addled by hormones, Sex Education is cringe-inducingly funny—it opens on a scene of two teens having rampant, yet unsatisfying, sex—and unexpectedly poignant. Anderson plays Jean Milburn, a British single mom and sex therapist whose adventurous approach to sexuality has not rubbed off on her geeky 16-year-old son Otis (Asa Butterfield). In fact, Otis is so repelled by his own desires that he can’t masturbate, let alone make out with girls”.

It would be great to see Anderson on the screen more and, now that she has appeared in a London theatre production, on the stage. It is quite rare seeing actors contribute vocals to music. I love what Anderson has done on The Sandman and, curiously, I wonder whether Gillian Anderson has considered a move into music.

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IN THIS PHOTO: Gillian Anderson/PHOTO CREDIT: @charlottehuco

It is neat seeing the worlds of acting and music fuse. There have been occasions where big actors have recorded music – from Hugh Jackman to Bruce Willis – but I think it should happen more. Not only can Gillian Anderson and Lily James’ involvement in the soundtrack make more people want to investigate PJ Harvey but PJ Harvey’s involvement in All About Eve will get more to the theatre. I do love the bond between the stage and music and how it has evolved through the years. The music world has expanded through the decades and the fact artists like PJ Harvey are stepping into new worlds will inspire many. In years past, film and stage scores were reserved to those with a more traditional background in that sense. Not that mainstream artists are diluting the waters but they are showing that anyone can do it and there is a whole world waiting. Look at the music through the All About Eve score and it has given Harvey the chance to be liberated. I think she has created some of her best modern work on the score and love the fact actors like Gillian Anderson have worked alongside her. I do wonder whether Anderson will lend her voice to more musical projects as she is very natural and authoritative! I do think there needs to be a closer link between music and drama in general as it has worked marvellously on All About Eve. As British T.V. drama stagnates and lacks any real colour, there are definite opportunities out there. I will move on to a new subject – the song review, in fact! – in a bit but I do think that PJ Harvey’s work here will see some changes on T.V., the stage and film. I also love discovering that much-loved actors have a really great voice and reveal talents you didn’t know they had. If you have not seen the play, go and see All About Eve before its run ends. It is a magnificent production that has, quite rightly, been receiving some very hot reviews.

 PHOTO CREDIT: Rex

The Sandman is one of the shortest songs on All About Eve. There is this haunting and pressing piano line that captures you and gets into the heart. With ethereal vocals and a really stunning performance from Gillian Anderson, you are immersed in this song that makes its impression felt the first time around. It is always hard approaching a score/soundtrack if you have not seen the production. Some might say that the songs are out-of-context and unusual if you do not know the story and history. I think there is a case for that but you can appreciate songs on their own merit and do not need to know the true background and context to get an understanding. We hear the heroine talk about this spirit and feeling that comes to her during the night. The vocal floats and has that mix of dreaminess and sensuality; the song’s eponymous figure brings love to the heroine and, as someone who has not seen the All About Eve play, I do wonder whether the song represents a pivotal moment. Looking at things from a purely musical standpoint, one is stunned by the grace and beauty of the performance and how gripping the song is. People will have their own impression of the visuals/song and what it is telling us. I actually imagined Anderson wrestling with dreams and nightmares and trying to forget painful memories. Maybe she has had better times and not found the success (now) that she had before. Going to sleep and letting her dreams take her away, it seems there is more positivity, hope and calm. You do get the sense you are inside the head of the heroine and following what she dreams. Harvey’s score is the perfect balance between calm and spiritual; mixing in something more urgent and unsettled. There are words regarding the moon arising and there being fears. I speculated how the heroine might be looking for nightmares to end and there being this sort of calm in sleep. Maybe I have got things the wrong way around. Perhaps sleep is when nightmares come to play.

 PHOTO CREDIT: Ben Weller for British Vogue

The vocals have this spectral power and, the more you listen to The Sandman, the more you discover. I love the vocal performance because it has so much power and beauty and it leads you in different directions. One can swim in the beauty of the vocals but there Harvey’s lyrics seem to get into the mind of someone who is quite troubled and more complex than you might think. The Sandman is quite a short number and does not outstay its welcome. In many ways, it is like a bridge between the events of the evening and the break of a new dawn. Although we do not hear much of Gillian Anderson’s voice on the All About Eve album, she makes a huge contribution and, like Lily James on The Moth, it is exciting hearing these popular figures sing. I listened to The Sandman a few times and was looking to see if I could guess the inspiration and the role it plays in All About Eve. One does not need to be familiar with the play/original film to empathise with the heroine or feel moved by the track. It has such an emotional weight and prowess that one cannot help play it over and over again. It is calming and inviting but there is a sense of unrest and ghostliness that infects and infuses its mood. There are so many reasons to recommend The Sandman as a song. It is the third track on the All About Eve score so you know that it sort of sets the scene and plays an important role. As a PJ Harvey composition, I cannot remember hearing anything similar on any of her albums. Harvey has always been able to bring something haunted and beautiful to music but not quite in this manner. It is a fantastic song from her and there are plenty more like that across All About Eve! Harvey shows her songwriting talents are bottomless and she is a master regarding mood and emotional resonance. Anderson is a revelation and someone who, I hope, gets more involved in music. There is a lot of great music around right now but I do think people ignore film and theatre soundtracks. They might assume it will be all Classical music and not what they like. Modern composers are much broader and popular artists like PJ Harvey are making scores more accessible and exciting, in my view. I love the entire All About Eve score and think there is some of PJ Harvey’s best work on it. Who would have ever thought we’d hear a song with PJ Harvey and Gillian Anderson harmonising and combining?! The Sandman is a magnificent track that spikes the imagination and makes one wonder. I was not aware Anderson had such a strong and versatile voice but, as we hear on the song, she is capable of showing the same breadth and ability as the best artists of the moment.

 PHOTO CREDIT: Kevin Cummins/Getty Images

I do think that PJ Harvey is one of those artists who sort of define what it is to be great. She has never taken an easy route when it comes to subject matter and I feel like she is one of those pioneers who has pushed music to new plains. I can hear so many of her tones in the best modern songwriters and I do hope that the new generation get familiar with one of the best artists ever. I am not sure whether there is a new studio album coming in the next year or two but it seems like Harvey has been pretty busy lately! One can forgive her if she wants to take some time off but I do feel like she will be making movements fairly soon. I love what she has done on the All About Eve score and how she stepped into new territory. She was not trapped by a particular mood/lyrics and was allowed to reign free and bold. The various songs on the album tell their own stories and very few of them exceed three minutes in length. It is a remarkable work and one that you dive into and surrender to. Maybe Harvey will contribute to other theatrical projects and do some film composition. You never know what you’ll get with PJ Harvey and it is great she continues to move in new directions and show what an immense talent she is. I have talked about T.V. drama and how music can play its part. I do worry that there is so little originality in British dramas and have been searching my mind for a reason why. The lack of risk is quite troubling but I do think that things like PJ Harvey composing music for a play will help. It will draw more eyes to the play and inspire writers to bring something more arresting and vivid to the screen – there has not been a T.V. drama like All About Eve on British T.V. for a while.

 IN THIS PHOTO: Lily James (who appears in All About Eve with Gillian Anderson)/PHOTO CREDIT: Jan Versweyveld

Music itself is unexploited on T.V. and there is so much to choose from. Whether having a particular period of music/genre as a backdrop for a drama or concentrating on a particular artist/album, I do think there are endless possibilities. I shall leave my train of thought there because I have gone on a lot. I do think that PJ Harvey’s work on All About Eve will get more people into the theatre and, I hope, more people heading her way. There will be those who associate Harvey with a particular sound and might have been hesitant listening to her work for All About Eve. The fact artists can cross-pollinate and we see the clash of two worlds opens minds, new discovery and perspective. Make sure you investigate the score/soundtrack and discover just how far PJ Harvey’s talents extend! She is this ever-compelling artist who seems to have no limits. In many ways, big musicians composing for the theatre can get people like me watching plays. I have not been to the West End since I was a child and usually avoid plays. Not for any good reason but I do feel like the experience will be less moving than film or music. I do feel like many have this perception but, with such great reviews in, plays like All About Eve will bring more bums to seats. With big names like Lily James and Gillian Anderson involved, it is a must-see event. Let’s leave things there but I would urge people to listen to the All About Eve and, if they like it, go and see the play – or the other way around if you please! I might try and see if I can get a ticket to see the play and, on Record Store Day, I am sure I can find some time to spin All About Eve’s incredible score once more! I am not shocked PJ Harvey has produced such a masterful work and I do hope she does more of this in the future. She is one of the finest artists we have right now and, from her 1992 debut to now, PJ Harvey has always stood aside…

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PHOTO CREDIT: Getty Images/Press

FROM her peers.                                                                                       

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INTERVIEW: Caswell

INTERVIEW:

Caswell

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TAKING us into the weekend...

is the fantastic Caswell. She has been telling me about her new E.P., Blindside. I ask if there is a favourite track from the collection and when music came into her life; how she views a very busy 2018 and what plans are coming up.

I wanted to know if there are going to be tour dates coming and which albums are most important to her; if there are particular artists we need to be aware of and who she’d support on the road given the chance – Caswell picks a great song to finish the interview on.

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

Hey! Yes. All good, thanks. I had my hometown E.P. launch on Thursday and the E.P. release on Friday. Then, afterwards, typically got struck down with some form of spring lurgy. Now, I’m on a potent diet of ginger and lemon tea.

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

So. I’m an independent London-born, Suffolk-based singer-songwriter with a killer live band and I guess I make what you’d call Alternative-Electro-Neo-Soul-Pop? Or something?

 

Stay the Night is your latest single. Is there a story behind it?

I wrote this when I was seventeen and, as I wasn't a hugely strong keys player, I found I'd spend hours trying to find inspiration on the piano but fall into the same limited chord progressions and get frustrated. I then went through a phase of writing over YouTube instrumentals and found one by The Weeknd that just fitted this dark/sexy/lonely vibe for Stay the Night. That was my first proper heartbreak song - so it’s always, always gonna be one that sticks.

The song is from your new E.P., Blindside. What inspired the songs and how does it differ from your debut E.P.?

So. I wanted to amp the energy up from my previous E.P. and make it more synth-heavy. I did a lot of my biggest shows last year and I just felt I needed some more high-energy tunes for the live set as I love getting the crowd hyped at a festival. During the writing of Blindside, I had also been playing with the band a little while and the production definitely translated this.

 

Is there a track from the E.P. that you favour/prefer above the rest?

I love Control just because it feels so raw and I get to go a bit mad with the vocal - and that’s super-fun to do live. There’s an anger in the song too and that’s something I’ve not really explored before.  

2018 was a pretty busy one. What are your impressions of the year?

Yes, it was mad! The tour with Arlissa and playing Latitude were the best; I even got listed as a live highlight on the official Latitude website so that was another kind of crazy. I was also awarded the Women Make Music grant from the PRS which helped enable me to release this Blindside E.P. so massive love to them!

Do you remember when music came to you? Did you always grow up around different sounds?

So. I will forever hear the stories about how, at two, I would call myself ‘Madonna Spice’ (a merger of my two favourite acts, clearly); apparently I also took a shining to k.d. lang and Suzanne Vega as a toddler. I was always into music but weirdly a musical episode of Buffy I watched when around the age of ten inspired me to start writing! (Strange child). My mum is also a vinyl dealer so that doesn’t hurt.

Are there any ambitions for the rest of 2019 in terms of music and plans?

Absolutely. Next week I’m headed to Berlin for a week of sessions writing with BMG artists, so that’s very exciting! We’ve also got a jam-packed summer of live shows and festivals which are always the most fun.

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

Crying whilst singing my song, Brother, at an open mic at my local. It was an intense emotional experience.

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

Mama’s Gun by Erykah Badu

Memories of teenage years.

In Rainbows by Radiohead

Nostalgic, emotional perfection.

Grace by Jeff Buckley

Limitless beauty.

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

I think Tame Impala, just because I’ve seen the live set and I know how epic it would be! I was obscenely obsessed a few years back. For the rider, all I know is socks are a must (according to the band, a spare change is absolutely essential…)

What are your plans regarding gigs/touring?

So. I haven’t announced some stuff as of yet but it’s going to be my busiest summer yet by far, with returns to old favourites and ventures to new live territory. Keep them peeled.

Is the stage somewhere you love to be? How important is it being up there?

Absolutely. Although it wasn’t always that way. I had terrible nerves and a little but loud voice in my head telling me everyone was bored and I should finish the songs early. It took a lot of practice but that voice only makes very occasional appearances now - and I spend the majority of the shows having the time of my life with the support of my amazing band.

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 IN THIS PHOTO: Nemi

Are there any new artists you recommend we check out?

So. I’m really feeling the new tune by friend/artist Nemi called Can’t Get Through to You and my producer’s band KYLYPSO are sick. I’m not biased- promise!

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IN THIS PHOTO: KYLPSO/PHOTO CREDIT: Jordan Woods

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

Finding life/work balance is such a constant struggle. I work a normal day job then music is a whole other life/job on top. I’m usually doing emails until 11 P.M. and there's not a day I switch off - but on the weekends I do definitely like to be social and enjoy a few cheeky bevs.

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).

After You’ve Gone - Nina Simone

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INTERVIEW: Rayon Nelson

INTERVIEW:

Rayon Nelson

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THE brilliant Rayon Nelson has been telling me about...

his new track, Freedom, and what it concerns; how music came to him and the role his family played; if he has a standout career memory; what is still coming up in 2019 and the rising artists we need to get behind and spend some time with.

I ask Nelson whether there are gigs afoot and if there are any albums that stand out to him; whether there is more material coming along and the advice he’d give to approaching musicians – he selects a cool track to end things with.

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

Hi, I’m good, thanks! My week’s been ok; somewhat intense but trying to chill out and enjoy moments!

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

I’m a soulful singer and songwriter. I am self-produced so all my songs I produce but I am open to working with other producers. My music is a mainly Acoustic-Soul but I have some vibey tunes as well. I write about any and everything, but I try to be meaningful - i.e. Memories, Get Up and Freedom.

Freedom is your latest single. Is there a story behind it?

Yes, there is! So I found myself wanting to write about freedom and the issues with the killing of young youths in America i.e. the Ferguson killing. So, I started writing about that. Then, I performed at an inspiring event where I was then speaking to a friend who told me a story of a really young refugee girl who had fled a country because her father was killed. Her mother then died of starvation and she ended up travelling with strangers to Europe.

He then brought her story to Parliament as his way of doing something. I felt challenged by that conversation as I have always wanted to do things to help people in similar situations but my excuse was that I didn’t have money to donate etc. But then I realised that I may not be able to give financially but I could write a song and bring about some sort of awareness!

So that’s how the song came to be! 

I understand you took some time off of music. Was there a reason behind that?

After I released my latest E.P. (independently), I had a lot of industry interests etc. which I realise I wasn’t ready for. I also felt I was compromising my sound for labels to satisfy their wants. So, I had to just chill out and get organised, clear my mind…try sort out a team. I was having label meetings with no management, no lawyer etc. It is good that I could handle myself - but having a strong team around you is better!

Are there any ambitions for the rest of 2019 in terms of music and plans?

I have a second single coming out 26th April and my E.P. on 31st May. So, hopefully these will do good. Then I will release a few more singles at the latter part of the year!

When you were growing up, which artists/records did you hold dear?

I had quite an array of artists that I liked and listened to but, to name a few: Jimmy Cliff, Bob Marley; Smokie Norful, Usher; Donnell Jones, Mali music etc.

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It seems you take inspiration from various different sources. How important are your family and upbringing to that?

Well. My family played a lot of Soul, Reggae and old-school Gospel music in the house so I grew to love people like Jimmy Cliff, Buju Banton and Sister Nancy. This is like my foundation in terms of influence, not only because of their sound but because they spoke about real things. I was born in Jamaica on a farm in a family who ate what they grew…there were great times but also some tuff (sic) times. In one of my songs on the new E.P. I talk about this a bit and I dedicated the song to my grandparents and aunties.

I remember this one Sunday we never had enough money come in that week so we had to drink ‘pumpkin soup’ on a Sunday instead of the typical full-plate chicken/rice and peas etc. So, I understand what it means to struggle and I sing for this reason: to help my family and people out there struggling alike.

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

Uhmm. Performing at the Isle of Wight Festival was great! It was my first major festival experience to both visit and gig. But, what makes me happy most is intimate gigs where I can connect with audience.

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

Ohh…this one is hard! Haha. I don’t usually listen to whole albums so this might not be an accurate answer…but here we go:

Confessions by Usher

Because this reminds of college days when I started to sing. There was a guy from my school who inspired me to sing. He was so dope at that time and the first song I heard him sing was from Usher - so that’s how I started to listen to Usher. Confessions is a vibe! I loved how the album was all a confession!

Freudian by Daniel Caesar

This was released in 2018 and it has been the only new artist album that I have had on-repeats for a while. The musicality and the vibe captured me. It’s just dope.  I hope my album to come is as dope!

The Miseducation of Lauryn Hill by Lauryn Hill

Again, because of the vibe! It’s just a great album.

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

I would love to support D’Angelo! I also would love to jamm with him! That would be vocally epic! As long as I have a comfy dressing room with plenty of water (and lemon/honey-infused) then I am good. Also, no-phones policy! I want people to enjoy the moment and not caught up on their phones.

What does the rest of this year hold for you?

Pushing my E.P.; loads of gigs and collaborations.

Are you planning any gigs in the coming months?

I only plan to have one gig in April (details will be on social media). I am performing at Sofar Sounds at Orbit Sounds UK on 16th May and then at my E.P. launch on 30th May at The Finsbury.

How important is performing? Do you prefer it to life in the studio?

Performing is my favourite part of this music life. It’s never the same. I love intimate gigs. It allows me to connect with people, share myself and be authentic. It also allows moments to be created! Can you remember or imagine being in a crowd listening to your favourite artist and saying one day that this will be me!

It’s a space for dreamers to be inspired and motivated. 

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 PHOTO CREDIT: TEEKS

Are there any new artists you recommend we check out?

I have just discovered TEEKS! Love his voice and his sound is that old-school Soul sound.

Jackson Lundy - Calypso (recommended track). I just discovered this dude as well. Chilled, dreamy Soul. He is also up-and-coming!

Koffee - Toast (recommended track). It’s like a Dancehall-Pop-kinda style. I like her because her lyrics aren’t typical of Dancehall: she’s a really young artist from Spanish Town, Jamaica and she has unique sound.

Hablot Brown - She Said. They are just great! Great sound! They are still climbing the ladder!

Dayo Bello - Mine. Because he’s my friend. He is great and have so much potential!

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 IMAGE CREDIT: Jackson Lundy

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

I still work full-time to pay rent so I don’t get enough time to really chill. I am trying though to chill! Haha. Hopefully, this year I will do music full-time! That’s the goal!

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).

Home Again - Michael Kiwanuka

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Follow Rayon Nelson

INTERVIEW: Eleri Angharad

INTERVIEW:

Eleri Angharad

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IT has been wonderful speaking with Eleri Angharad...

about her album, Earthbound (out on Friday), and how it came together; whether she has a standout song from the set and what it was like recording the album in Cardiff – Angharad tells me about her favourite artists and music.

I ask whether there are gigs coming up and why she takes guidance from Nashville and its artists; the musician she’d support on the road given the choice and which approaching artists should be in our sights – she selects a great song to end the interview with.

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

Hello! I’m good, thank you - tired but very, very excited! So far it’s been a busy week getting everything organised for the release, but I think I’m just about ready!

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

I’m Eleri Angharad, a Country/Pop artist from South Wales, U.K. My music is influenced by a mix of Welsh and Americana musicians such as Cerys Matthews, James Taylor and Taylor Swift. I was really drawn to Country music both growing up and after a road trip I took around the U.S., playing in Greensboro, Nashville; Chicago and New York.

Your debut album, Earthbound, is out soon. Can you reveal what inspired the songs and what it was like to record?

I chose the title, Earthbound, which is also the name of one of the tracks because it really tied in with the themes of home that run through the album - whether home is your hometown or a person or just a feeling of belonging somewhere. I travelled a lot around the U.S. and Ireland, so a lot of places feel like home to me. I’m lucky to have friends all over the world that keep really grounded, so Earthbound encompasses all of that. It’s the most honest collection of songs I’ve ever written.

I love recording music and I’ve worked with the same producer on my last two records - a fantastic guy called Lee House. We work really well together and everything seems to flow.

Is there a song from the pack that stands as a favourite?

Oh. I change my mind on this every day! At the moment, I think Stronger Stuff really stands out to me as it’s so upbeat and empowering. It’s also got a great harmonica solo blended with electric guitar, so I really love how the sound turned out!

I also love Chicago as it’s such a nostalgic song to me. It’s like a time capsule.

What was it like recording the album at Woodcroft in Cardiff?

It was a new studio for me so that was exciting. It’s a really chilled space with lovely carpets and fairy lights so it’s quite magical and relaxing - it makes me feel really creative! It’s always an absolute pleasure to work with Lee House as producer too. He always listens to my vision for the songs and makes them sound even better than I could imagine!

It was difficult at times especially playing the same guitar parts over and over but it was amazing to see myself grow and improve as a recording artist during the process and I can’t wait to see what my next project will be.

When you were growing up, which artists/records did you hold dear?

I grew up listening to a ton of my parents’ music collection including welsh artists like Cerys Matthews/Catatonia and Amy Wadge. I have always loved storytelling songs like those of James Taylor and Dolly Parton - I’m a self-confessed Taylor Swift super-fan too and her album, Fearless, really got me into Country music. These days, I really love the modern Pop twist on Country - with artists like Kacey Musgraves, Jillian Jaqueline and U.K. country duo Ward Thomas.

It seems like you take guidance from Nashville artists. What is it about the city and sound that captivates you?

Nashville is wonderful because there’s music in absolutely every bar - almost 24/7 - and yet there’s always an audience. The people there just adore music and it attracts music lovers and artists from all over the world. What struck me most was the heartbreaking honesty of Nashville artists, each one with their own story to tell and being completely unafraid to sing it to a room full of strangers with often just a guitar in hand. I really wanted to incorporate that stripped-back integrity into my own music and this record reflects the Nashville magic for me.

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

One of the best gigs I ever played was completely unplugged in a bookshop in Stockholm, Sweden. I got to meet Izzy Young - the man who booked Bob Dylan his first-ever gig - so that was pretty amazing. It was absolutely filled to the brim with people who were so supportive and attentive - I even sang in Welsh and I think that was their favourite song!

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

Fearless - Taylor Swift

This album really got me into Country music and exploring more and more artists.

Catatonia - International Velvet

My mum used to play this in the car all the time when I was growing up and Road Rage was my ultimate-favourite song for years. I know the whole album off by heart and I still love it. I got to write with one of the band members for my Earthbound album and that was an incredible experience.

9 to 5 and Odd Jobs - Dolly Parton

I was in a play in school where this was the soundtrack and it really got me into older Country music; it holds a lot of memories for me. I just adore Dolly in general. I think she’s wonderful!

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

Oooh, wow! I’d actually love to support Kacey Musgraves as I feel like the show would be magical and full of sparkly things! On my rider I’d definitely have some pink gin, watermelon and strawberries.

What does the rest of this year hold for you?

Well. I’m going on a U.K. tour this month to promote the album release - playing in York, Brighton; Manchester, Bristol and London as well as some more along the way! I’ve also got a busy summer of festivals coming up, too: How the Light Gets In, Live on the Wye and Home Farm Fest (which have already been announced), so I’m also really excited about those. Maybe some more music videos, too; they’re always so much fun to release!

Are you planning any gigs in the coming months?

I’ve got my album launch next week in Cardiff – 13th April (which is now sold out). I’m playing there with my full band, The Blue Js, and I’ve got the tour. Also doing a big hometown show in Swansea on 3rd May. After that, I’m supporting Ell South in Porter’s, Cardiff on 8th May and Sarah Birch in The Cellar, Cardigan on 14th June.

How important is performing? Do you prefer it to life in the studio?

They’re very different. I love the experience of chipping away at a record in the studio and seeing my songs come to life, but I also love the buzz of performing! I’m so excited to be playing some full band shows this year as the atmosphere onstage is great. I can’t wait to share my album live with an audience. 

 IN THIS PHOTO: Violet Skies

Are there any new artists you recommend we check out?

There are some really great upcoming artists from South Wales. I’d hugely recommend listening to Pop acts like Violet Skies and Emilie Merry and, for some Country, my favourite new acts are Jillian Jacqueline, Natalie Jones and Rosey Cale.

 IN THIS PHOTO: Jillian Jacqueline

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

I love to keep fit and go to the gym, although I haven’t had much time for that for a while. I also really love cooking new vegan recipes and baking. I find it so relaxing! I even have my own food blog on Instagram, What Eleri Eats.

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).

Oooh. I think I’ll pick Space Cowboy - Kacey Musgraves. It’s absolutely heartbreaking and I love a good sad song!

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INTERVIEW: Kat Cunning

INTERVIEW:

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PHOTO CREDIT: Ben Trivett 

Kat Cunning

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THE superb Kat Cunning has been discussing her great single...

Birds and how it came to life. I was keen to know if there is more material coming and what sort of music Cunning is inspired by; how important it is to be an advocate of L.G.B.T.Q.+ rights and body positivity – she picks a couple of rising artists that we need to get involved with.

I wanted to find out if there are tour dates coming up and how, as an actor, that discipline blends with her music work; how she relaxes outside of music and a few albums that mean a lot to her – Cunning selects a great song to end the interview with.

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

STELLAR! Played a showcase in London where David Bowie used to track; released my single, Birds, and I’m gearing up to release the video to follow. Most importantly, I got to watch plane movies on my way back...Heaven.

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

Alt-pop? Inclusive? Sexual? Soul influence? Hot fire? It’s so hard to describe yourself but I’m often compared to vocalists like Florence and The Machine and Fiona Apple. I think it’s less about how I sound and more about the feel of the music. I write songs that mean something to me and I put my heart into them.

Birds is your new single. What is the story behind it?

When I wrote this song, I didn’t even know what it was about: it just fell out of my mouth. It felt like a nursery rhyme until the symbolism of the birds revealed themselves to be a metaphor for anxiety and insomnia. This song is for anyone who has ever been agitated, bothered or gone completely mad.  

Me, personally, I sing the song to combat the voices in my own head and the structures that are built inside and outside of me, designed to hold me back. Metaphor is cool that way. It doesn’t really shove my experience at you. You can hear your own story in the song.

Might there be more material coming later in the year?

Lots of stuff cookin’. I have two songs in particular that I’m already so excited to release and a forthcoming E.P. THIS FALLLL! I’m dead.  It’s been so long; I can’t wait to share it.

PHOTO CREDIT: Marc Harris Miller

You are an advocate of body positivity and the L.G.B.T.Q.+ community. How important is that to you?

I am a curvy and strong person. I am always being reminded that my body is weird, extra: specifically female or utterly sexual. I don’t see women like me on T.V. that play anything other than hookers and vixens. Body positivity is important to me because I feel underrepresented and I know and love so many women in more extreme cases that feel the same. The Internet is starting to turn the tides when it comes to user-generated imagery - we’re showing you what we want to show you and affirming what we want to see. That’s cellulite, scars; different ages, colors and abilities.

The same goes for queer people. I am a queer person. I want to see examples of same-sex couples and gender-fluid people thriving. I see them and love them in my life. I want to see more diversity and fewer stereotypes represented in the media. It would be more realistic, interesting and helpful to the kids that aren’t so lucky to have the colorful community I’ve found. All it takes is one character on primetime; one song that speaks to you, to motivate you to find your way.

As an actor, how does that work blend with your music? Do you bring acting disciplines into your music?

Ya. Acting helps me to be a brave performer. It also inspires me to be empathetic when I write. It’s cool to step into other people’s shoes.

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How influential is the diverse New York scene when it comes to your own sound?

Hugely! I come from a really small town in Oregon. I value space in music like my hometown. I value color in music like my community here.

When you were growing up, which artists/records did you hold dear?

I was a weird kid, man. I had a record player that my grandma saved and would play old records which were mostly show tunes and The Beatles. I think I was just as in love with the sound of the record scratch as I was with the songs themselves. As a teenager, I was into Neutral Milk Hotel, Interpol; Modest Mouse, the Ramones; The Clash and Dandy Warhols. I discovered Soul and R&B in college…

Erykah for life.

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

Getting to open for LP on tour was a dream.

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

James Blake - James Blake

I danced alone to this album every day for a year.

Beyoncé – Beyoncé

She presents every part of herself in this album. It’s what made me really want to dive into this industry.

Rihanna - Anti

She f*cks with every genre, sings in her own dialect; the imagery for the album is so androgynous; she champions other artists and overall doesn’t seem to care what you think.  

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

I would love to open for Christine and the Queens, Sia or Lady Gaga. I think they all draw freaky crowds that love strong women and they put on huge shows. My rider would include tequila, popcorn and Blue Point Oysters…cus I’m classy.  

Are you planning any gigs in the coming months?

Yes! Come see me in N.Y. on April 17th at Elsewhere space and I might be back in London the following week. Stay tuned!

How important is performing? Do you prefer it to life in the studio?

I need to perform. I love to write. I much prefer to sing my records on stages for people than alone in a booth. I kind of hate that and it makes me want to die. My manager is always laughing cus I have tried singing in every corner of the studio.

IN THIS PHOTO: NSTASIA

Are there any new artists you recommend we check out?

Obsessed with NSTASIA and my friend Katie Von Schleicher!

 IN THIS PHOTO: Katie Von Schleicher

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

I take myself dancing. Not the bougie venues where girls stand in cocktail dresses waiting for someone to buy them a cocktail: the places you go to sweat and grind.  

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).

Love in This Club by Usher! Xoxox

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INTERVIEW: Sahara Beck

INTERVIEW:

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PHOTO CREDIT: Jeff Andersen Jnr.

Sahara Beck

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KICKING off the week is Sahara Beck...

PHOTO CREDIT: She Is Aphrodite

who has been discussing her latest track, I Haven’t Done a Thing Today. I ask about its start and whether the Australian artist has more material coming up; whether she might head out on tour and what sort of music she was raised on.

Beck suggests some rising artists to watch and talks about the past year; what advice she’d give to artists coming through and the albums that mean a lot to her – she ends the interview by picking a great song.

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

My week has been good! An exciting first week of life for my new single!

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

I'm Sahara Beck. I've been playing and releasing music since I was thirteen. I grew up on the Sunshine Coast but have been based in Brisbane for a few years now. I've just released my new single, I Haven't Done a Thing Today, which I wrote with my brother last year.

What is your new song, I Haven’t Done a Thing Today, about? When did it come to you?

It's about taking a seat and having a look at everything in my life and objectively without judging myself and, instead, just putting love into those areas. For example, in one part I speak about how my brother has always been very smart and good at everything. I used to feel competition towards him, naturally.

But I am proud of him that things come so easily to him these days. I speak about love being everywhere because I truly believe that and sometimes I forget to see that when I get caught up in mine and others egos. 

I understand more material is arriving later in the year. Can you tell us anything about that?

I guess what I can tell you is that I have been spending a lot of time writing and pushing my abilities and boundaries in that sense - over the last eighteen months. This is why I chose to travel to Los Angeles to work on the new material with Tony Buchen. He’s worked with Montaigne, Courtney Barnett and Mansionair to name a few.

We’d never worked together before and I had a strong sense he would be able to understand my vision and help me to reach that ultimate creative goal on this project (smiles). It was exciting to take that big step to work outside my comfort zone - and also really frightening!  But I am incredibly proud of what I have written and created and I am so pumped to finally release these ones to the world.

PHOTO CREDIT: Jeff Andersen Jnr.

Over the past twelve months, you have been very busy – including a support slot with Bishop Briggs. How crazy has it been and has it all been fun?!

The Bishop Briggs support was amazing. She is an incredible woman and I learnt so much from watching her perform! It was a pretty cool way to kick of the year! Around that, I've been writing a lot with many different people, rehearsing the new material with my band and it's generally been a very creative time and I've been loving it.

Did you always know you wanted to get into music? When did that passion start?

Actually, I always wanted to be an actress growing up! I started playing music as a natural progression of that expression and just started loving it so much I couldn't stop. There have been many moments in my journey that have continued to excite me and motivate me to write and perform. I remember seeing The Cat Empire for the first time at a festival and they had the audience completely in the palm of their hand - with nothing but a single vocal note and that just crushed me. I just knew I was driven to that experience.

PHOTO CREDIT: @thomasjamesisaac

When you were growing up, which artists/records did you hold dear?

I grew up listening to a lot of dramatic music of all genres, mainly Classical on my mum's side or Motown on my dad's side. My music taste growing up and even still now is so wide I am struggling to raise any particular names above others.

Being based in Brisbane, what is the music scene like there? How does it compare to cities like Sydney and Melbourne?

I think the Brisbane music scene is extremely supportive. I'm not sure what it's like in other cities as I've always lived either on the Sunshine Coast or Brisbane. 

PHOTO CREDIT: She Is Aphrodite

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

My standout memory is getting an eight-piece band together for BluesFest several years ago and performing my album to a packed-out tent! I think I was eighteen at the time and it just felt insane!

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

Lou Reed – Transformer

Because it's so real, lyrically and musically, to me.

Violent Soho - Hungry Ghosts

Because it's always a huge release for me listening to it.

And anything by Tame Impala…

Because Kevin can do no wrong plucking my heart-strings with his beautiful melodies.

PHOTO CREDIT: Jeff Andersen Jnr.

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

Maybe, like, Beyoncé - and then I’d request to have the same rider as she has. I reckon that would be interesting to find out (smiles).

Are you planning any gigs in the coming months?

I have a couple of announced shows coming up and some not yet announced!

I’m playing the Ipswich Festival on Friday, 12th April with Regurgitator. This will actually be the first show with my brother (who has joined the band)! And then I will be playing AltFest in Adelaide on Saturday, June 29th with some kick-ass women Dallas Frasca and Z-Star Trinity!  I haven’t been back to Adelaide for a couple of years so I’m super-excited about that show. You can expect to hear a lot of my new material in these sets - a handful of which I previewed on my single tour late last year.

How important is performing? Do you prefer it to life in the studio?

Performing is my favourite part of all of this. I love writing and recording but there's nothing like performing something that is so vulnerable and true to yourself.

 IN THIS PHOTO: The Jensens

Are there any new artists you recommend we check out?

The Jensens and Pink Matter. Pink Matter is a four-piece all-female Neo-Soul act. So great live and the best people!

IN THIS PHOTO: Pink Matter/PHOTO CREDIT: Georgia Wallace Photographer

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

I like getting hooked into a good animated series to unwind my mind. I'm re-watching Rick and Morty at the moment for that reason. That show always helps me get perspective.

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 Jensens – Mt. Mura

That's my mate’s band and I'm loving their new direction.

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Follow Sahara Beck

FEATURE: The Lady Owns the Blues: Billie Holiday at One-Hundred-and-Four: The Ultimate Playlist

FEATURE:

 

 

The Lady Owns the Blues

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IN THIS PHOTO: Billie Holiday in the early-1950s/PHOTO CREDIT: Hulton Archive/Getty Images 

Billie Holiday at One-Hundred-and-Four: The Ultimate Playlist

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IT is tragic that the great Billie Holiday only lived...

 IMAGE CREDIT: Getty Images

to the age of forty-four. Holiday was diagnosed with cirrhosis in 1959 and battled alcoholism for a lot of her late life. She was in frail health in the last couple of years before she died at the age of forty-four in 1959. She did not record a lot before her death but 1958’s Lady in Satin has some real highlights – including Frank Sinatra, Joel Herron and Jack Wolf’s I’m a Fool to Want You. Holiday’s voice had lost a lot of its higher range and there was an unintended sense of tragedy and loss. 1959’s Last Recording – where Holiday wanted to sound like Frank Sinatra – is rather tragic and sad; Holiday has to be propped up by a nurse at times so she could get through a take. There is a lot of tragedy surrounding Billie Holiday but her impact and legacy cannot be ignored. Holiday’s vocal range was not huge and she did not have a musical education. Like many of the great artists, Holiday’s power came from her unique tones and intuition. Whereas some artists seduced with vocal range and belt, Holiday buckled knees with her intensity and passion. One can read articles relating to Holiday’s best work and fans will have their own opinions. It is a stretch to think, even in good health, Holiday would have lived to the age of one-hundred-and-four! One of my earliest memories of Blues and Jazz music is being played Billie Holiday records such as Lady Sings the Blues and Lady in Satin.

 IMAGE CREDIT: Getty Images

It is clear that Holiday had her troubles – personal, legal and substance-related – but her vocal prowess and stunning music stands the test of time. This article from The Atlantic in 2015 shows how Holiday’s name lives on and how she has inspired many modern artists:

“How many musicians are relevant at 100? Given how quickly styles and sounds change, it's hard to stay current for more than a decade, much less a century. Take Frank Sinatra, who was born in December 1915. Ol' Blue Eyes remains an icon, but Bob Dylan tributes aside, Sinatra sounds, well, old. Louis Armstrong? Still loved by musicians, but mostly known in the general public for his treacly late-career anthem to optimism, "What a Wonderful World."

What accounts for her longevity? For one thing, she's arguably the greatest jazz singer ever. She's certainly the most familiar. Even people who can't tell Ella Fitzgerald from Peggy Lee know that voice, so recognizable and so difficult to describe. And as John Szwed notes in a new book, her myth is also an essential part of her continued appeal. There's her birth to a teenaged, unmarried mother; her rape and work in prostitution before her 14th birthday; her many marriages and entanglements; and her death. Most of all, there's her long battle with heroin, a struggle about which she was unusually open. For many listeners, one suspects, the personal life is inextricable from the professional. The pathos of Holiday's life seems to ooze out between the notes in her voice.

Alternately, some singers have opted to try to reproduce Holiday's sound. That's surprising, given how much importance is attached to Holiday's biography (who can hope to capture that sort of pain?) and given how hard it is to capture what made her so great—the phrasing and musical coloring and nuances. Imitating her strange tone enough to evoke Holiday is easier, and plenty of singers have drawn comparisons to her, from the lite-jazz of early Norah Jones to the twee jazz-pop of Madeleine Peyroux”.

Holiday, as this article shows, broke ground and barriers:

“In 1938, Holiday became the first Black woman to work with a White orchestra. One year later, her label, Columbia Records, would refuse her request to record "Strange Fruit," a song about the lynching of a black man.

Major record labels feared losing sales in the South. Holiday recorded "Strange Fruit" with Commodore Records, recognized as America's first independent jazz record label.

In a 2001 New York Times obituary, Commodore's founder, Milton Gabler, was said to have had one photo by his bedside at the time of his death at the Jewish Home and Hospital in Manhattan. It was of Billie Holiday. She had died 42 years before the 90 year old.

Time Magazine called Holiday's haunting ballad the song of the century. It has sold millions of copies.

The late jazz writer Leonard Feather called "Strange Fruit," "the first significant protest in words and music, the first unmuted cry against racism”.

I think the fact her music is still being played and new listeners are discovering her work shows how important her legacy is. It is amazing to think how long Holiday’s music will be played but listen now and it still sounds completely staggering, evocative and spin-tingling. Even if her later material was quite frail and haunting (in a bad way), it did hold its own special power and place. There are many great Billie Holiday recordings but, to mark what would have been her one-hundredth-and-fourth birthday, I have compiled an essential playlist. Take a listen to this sensation icon whose life might have been short but, in the time she was with us, she made such a mark on…                    

THE music world.