FEATURE: Hidden Treasures: Sheryl Crow – Sheryl Crow

FEATURE:

 

 

Hidden Treasures

COVER PHOTO: Steen Sundland  

Sheryl Crow – Sheryl Crow

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THIS is one of those albums that...

IMAGE CREDIT: Richard Frankel/PHOTOGRAPHY: Melodie McDaniel, Peggy Sirota and Scott Henriksen

scored some of my best days at school. I discovered Sheryl Crow when her debut, Tuesday Night Music Club, arrived in 1993. I was ten when that album came about and remember having my eyes opened by corking songs such as All I Wanna Do and Run Baby Run. I had not really heard a lot of Country and Folk together before; definitely not the same combinations Crow was putting down. I was struck by her beautiful voice and this unique sound. I was compelled to dig deeper and carried Tuesday Night Music Club around with me. That album was written with a collective that was formed by Crow and other musicians. There were disputes after the album was released regarding writing credits and whether her band was being given enough props. Although Crow was at the forefront, perhaps her musicians contributed more than were being given credit for. I love that debut because it sounds so fresh yet has maturity and real depth to it. There were some great reviews for the album but some felt that a few of the songs were half-formed and Crow was yet to find her feet. There is always a risk when you have momentum and you leave a big gap between releases. It took three years for Crow to bring us her eponymous album and, in many ways, the wait was worth it. Sheryl Crow, debatably, is the strongest album she ever released and, this time, songs are fully-formed and instantly golden.

Unlike her debut, Crow took control of production and created the album more in her own vision – a brave and bold move from someone so young. Even though it was her second album, Crow was not going to repeat herself and do what she did before. Most of Sheryl Crow was recorded at Kingsway Studio in New Orleans, Louisiana. Never fully immersed in the Country or Folk scenes, Crow was free to splice genres and bring her own spin. The album features tales regarding heartache and split; American life and ethical issues. It is an accomplished and varied album where the lyrical clout is as impactful as the wonderful compositions and stunning vocals. I was going to stick Sheryl Crow into Vinyl Corner but, instead, I have come up with a new feature for those albums that tend to skip by. It is hard to find Sheryl Crow on vinyl and, in fact, a lot of her back catalogue is quite hard to track. I was determined to cover this album because it is a favourite of mine but, whereas the vinyl is hard to get, you can get it online and enjoy. It is a record we tend to overlook and, compared to The Globe Sessions (1998), it doesn’t get the love it deserves. If Crow’s debut was quite a smooth and traditional album, her eponymous release is more off-kilter and off-balance in terms of the production. There is a lot of fuzz and rich instrumentation; some great little touches that take it out of the ordinary.

There are great songs throughout the album but, rather than stick with ordinary themes and cover the same ground as everyone else, Crow took a different approach. One of its singles, A Change Would Do You Good, is about getting away from a rigid lifestyle and doing something different. Maybe Angels, on the other hand, is about U.F.O.s and conspiracies; a song that you would not find on many other albums. I think Crow said in interviews that it was about finding Kurt Cobain joining John Lennon in a heavenly choir. It is a strange thing to focus on but the song sounds amazing and totally works! Crow talks about gun control and abortion; she tackles these big themes and areas that needed to be addressed. There were some bold artists back in 1996 but consider the leap between Tuesday Night Music Club and Sheryl Crow. In terms of sound, lyrics and production, you can see this immense gulf. That is not a bad thing but it is clear Crow had hit a peak on her second album. If It Makes You Happy is my favourite song from the record and started life with a very different sound. It was alternately twangy and Punk-like; it went through different machinations before arriving at where it ended. Everyday Is a Winding Road features Crowded House’s Neil Finn on harmony vocals and there are these standout moments. The singles are great but Sheryl Crow is solid throughout.

 IN THIS PHOTO: Sheryl Crow in 1996/PHOTO CREDIT: Getty Images

I love how many different movements there are and how each song has its own personality. You get the rush of If It Makes You Happy and the familiar twang of Everyday Is a Winding Road. Elsewhere, Superstar and Ordinary Morning find Crow embracing different sounds and she sounds completely released and free throughout. Some of the contemporary reviews for Sheryl Crow were a little muted – perhaps inspired by the sound happening in 1996 and how they album fitted in – but retrospective reviews have given the music time to sink in and strike. AllMusic drilled down to the heart of Sheryl Crow:

“And, even with the Stonesy grind of "Sweet Rosalyn" or hippie spirits of "Love Is a Good Thing," it is an album that couldn't have been made any other time than the '90s. As strange as it may sound, Sheryl Crow is a postmodern masterpiece of sorts -- albeit a mainstream, post-alternative, postmodern masterpiece. It may not be as hip or innovative as, say, the Beastie Boys' Paul's Boutique, but it is as self-referential, pop culture obsessed, and musically eclectic. Throughout the record, Crow spins out wild, nearly incomprehensible stream-of-consciousness lyrics, dropping celebrity names and products every chance she gets ("drinking Falstaff beer/Mercedes Ruehl and a rented Leer"). Often, these litanies don't necessarily add up to anything specific, but they're a perfect match for the mess of rock, blues, alt-rock, country, folk, and lite hip-hop loops that dominate the record. At her core, she remains a traditionalist -- the songcraft behind the infectious "Change Would Do You Good," the bubbly "Everyday Is a Winding Road," and the weary "If It Makes You Happy" helped get the singles on the radio -- but the production and lyrics are often at odds with those instincts, creating for a fascinating and compelling (and occasionally humorous) listen and one of the most individual albums of its era”.

SLANT, in 2003, had their say:

“As always, Crow’s lyrics take a decidedly moralistic stance but never sound preachy. “Hard to Make a Stand” touches on abortion clinic terrorism while “Love Is a Good Thing” sees the solution to the world’s problems in the same four-letter word so many other rockers have enthusiastically endorsed over the years. Crow makes subtle references to the Beatles’ “Love Is All You Need,” but not before giving us a dose of modern reality: “Watch our children while they kill each other/With a gun they bought at Walmart discount stores.” This is certainly not the same hippie mentality of the ‘60s and ‘70s, and one can’t help but think that Crow is a tad less confident with her miracle product than, say, Lennon ever was. “These are the days when anything goes,” she sings on the buoyant “Everyday Is a Winding Road,” and the sentiment speaks for both the song’s playful optimism and the album’s sonic adventurousness. Crow has had some other great moments (“Leaving Las Vegas,” “My Favorite Mistake”), but none of her other full-length albums have been as consistent, immaculately produced or distinctly modern”.

Crow would go on to The Globe Sessions in 1998 and, whereas there were big hits to be found, it is less individual and surprising as her eponymous album. I think Sheryl Crow was the natural maturation from her bar days and playing with her band and having more of a say. She leapt in confidence from her debut and, despite some legal difficulties, was able to conquer new ground and produce a more rounded and complete album.

It is a shame one cannot get Sheryl Crow on vinyl but listen to it on streaming services. It is a fantastic release and one that marked her out as one of the most promising artists in the music world. The Globe Sessions would give us some of my favourite songs from her – including There Goes the Neighbourhood and My Favourite Mistake – but I love all the flavours and contrasts of Sheryl Crow. There are big hits like If It Makes You Happy but she really strikes a chord when it comes to more sensitive and big topics. Not only does this artist break from the mainstream in terms of predictability and use music to address important areas but she did it without alienating and preaching. I feel we overlook Sheryl Crow and do not realise how important it is as an album. It is one of the best albums from the 1990s and you can hear elements of the record in many artists today. Not many articles exist praising the album – I feel that this is wrong. Crow is still recording today and has changed a bit since her early days. I love what she does now but I get this warm tinge and sense of joy when listening to her eponymous album. I was thirteen when it really started to hit me and kept it close as I went through high-school. It was among the most essential releases for me and was a favourite with my friends too. If you want to discover a great album from the past that you might have missed first time around, have a listen to Sheryl Crow and fall for all its brilliance. It is one of the most complete and satisfying albums I have heard and I think it sounds fresh today – almost twenty-three years after its release. I am going to spin it now but, if you are used to listening to the same music and get stuck in a rut; have a gander at Sheryl Crow’s eponymous album and realise that a change…

WOULD do you good.

INTERVIEW: James Riley

INTERVIEW:

PHOTO CREDIT: Ray Tarantino

James Riley

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IT has been pretty neat...

 PHOTO CREDIT: Ray Tarantino

speaking with James Riley about his new track, New York Minute, and its fascinating story. He discusses his musical tastes and who has compelled him; some of the rising artists we need to be aware of and whether there are going to be gigs upcoming.

I ask what we can expect from the upcoming album, Transatlantica, and what it was like to make; which artists Riley grew up around and what he does in his spare time – he picks a great song to end the interview with.

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Hi James. How are you? How has your week been?

Hi, guys. Yeah, my week’s been pretty good. I’ve been up at the Extinction Rebellion protest in London a fair bit, which has been interesting and inspiring, if slightly overwhelming.

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

Sure. I’m a transatlantic Folk and Soul songwriter from South London. I say transatlantic because I’m half-American and I lived in Nashville for two years - and those themes tend to influence my music a fair bit.

New York Minute is your latest track. Is there a tale behind it?

There is, indeed, a tale. I had just moved to America and I was spending a lot of time in New York City hanging around BedStuy and Bushwick, where I have a few friends. I kept on seeing these huge clouds of cascading birds flying above the tenements and the subway and just remember thinking how improbable it seemed in such a built-up place that this display of wildness was so present.

Later, I was walking through the Garment District downtown with my partner at the time and a hawk literally fell down (*SLAM*) on its back and died on the sidewalk in front of us. We watched the light go out of its eyes. Seconds later, a sparrow glanced off my shoulder and fell down on the sidewalk, also dead. It was one of the strangest things I’ve ever witnessed.

We later worked out that probably the hawk was chasing the bird, and one or both must have panicked and flown straight into the sheer reflective glass of the building we were walking right next to. It was just such a strange moment – apparently it happens quite often in Manhattan –, this mad collision between literally the pinnacle of human civilization and this wild animal energy – it’s one of the things that fascinates me the most about that city.

So, I guess the song was initially inspired by those uncanny encounters and then it developed from there.

If we only had a minute in New York, what should we do?

I would suggest you get a cup of dollar coffee from a one of those bodega booths down by Knickerbocker Av. in Brooklyn; then walk out in front of traffic so just so you could enjoy the authenticity of N.Y.C. traffic honking at you…and you could enjoy shouting back “Hey, buddy! I’m waaaalking heeeeya!” Then, if you still had time, I would try to find some dumplings.

PHOTO CREDIT: Ray Tarantino

Your album, Transatlantica, is out soon. Are there themes that define the record?

Yeah, definitely. Most of the record was written whilst I was living in Nashville, working loads of crazy minimum-wage jobs; trying to maintain a long-distance relationship and working harder than I’ve ever worked to develop my voice as a songwriter. It was both an inspiring and quite a hard time…

I was alone a lot, a long way from home; I was feeling simultaneously inspired and disillusioned by my surroundings. I was starting to understand my identity as songwriter more than ever before and understand America and Nashville in a new way - as well as my place in it - as a half-British transplant into the Deep South. It was mostly written in the six months leading up to Trump’s election also, which was a crazy time for obvious reasons - a lot of uncertainty, loneliness and frustration as well as of hope, possibility and inspiration. I think elements of all of that can be heard on the record.

What was it like to record? Was it a fun process?

It was actually a ‘third time lucky’-type scenario with this record. I had tried to record an album a few months after coming to Nashville, with a producer who loved my sound, but had his own process in mind for making it. We got in the studio with a Memphis Soul band – all of them where amazing players but we had almost no time to work out how I wanted the tracks to sound (the musicians were being paid by the hour) and so we just had to write the charts, roll tape and see what happened. It resulted in something very high-quality but ultimately sounding nothing like what I had imagined.

After much deliberation, I scrapped that project and started again, working with a producer who took an opposite approach; working in a very low-key type way, involving just my acoustic guitar and me. We were getting some good results but sadly his personal world was in crisis and he eventually moved back to New Zealand (where he was from).

PHOTO CREDIT: Ray Tarantino

Finally, after these two failed attempts and a year and a half in Nashville, by chance I met a fellow songwriter at a writer’s night, a guy called Matt Lovell. We became friends and he asked me to play a show at his producer’s studio. I met his producer, Matthew Odmark, who had previously been in a successful Rock band called Jars of Clay. Myself and Matthew began meeting up for coffee and talking music…he has a very ‘Sherpa-like’ energy and he helped me navigate several challenging scenarios, including my ‘breakup’ with my previous producer.

After my second album attempt fell through, I asked Matthew if he wanted to help me make my record. He said, “agreed”, and after that the whole thing started rolling really quickly. The tracks were demoed, the players chosen and, within a couple of weeks, I had my record. It was a dream.

When did music come into your life? Did you grow up around great sounds?

 It’s a massive cliché but I really did grow up on my parents’ record collection. My mum grew up in seventies California and so I heard a lot of Bob Dylan, Joni Mitchell; Bruce Springsteen and James Taylor from the time I was young. After my parents divorced, me, my mum and my sisters took a massive road trip through the northern U.S., from the Minneapolis all the way down through the Dakotas and the Badlands; Wyoming, Montana…all the way down to Vegas.

It was the nineties, so we were stopping off in gas stations to pick up cassettes of Country music: stuff like Lyle Lovett, Mary Chapin Carpenter and The Mavericks. I think the combination of that music and all that wild landscape, at such a young age for a little English kid, left quite a profound impression. I think that’s a large part of reason I ended up moving to Nashville in the end.

Are there any other plans in place for 2019? Will you just be looking to get the record out and make an impact?

My plans for the rest of the year include, obviously, to release my record and hopefully to get some people to hear it. There’s going to be several more singles coming out over the summer up until I release the album around September. At the moment, things are in flux and I can’t honestly tell you what the future holds. Of course, I’m really hoping the album is going to make an impact. It’s been a long road getting it to a point where I’m happy to release it, so I can’t wait to hear what people make of it.

I’m playing a few festivals this summer, which I’m really looking forward to. There’s one in particular I’m looking forward to in Portugal…after I’ve played that one I’m planning on walking the Camino Portugues up to northern Spain (which will should be incredible).

PHOTO CREDIT: Ray Tarantino

Which three albums mean the most to you do you reckon?

John Martyn – London Conversation

Keith Jarrett – Facing You

Will Smith – Big Willie Style

If you could support any artist on the road who would it be?

Probably someone like Sting. Or Dylan. Or Joni Mitchell or maybe Queen. You know, one of those people who changed what people thought was possible with a Pop song.

Might we see you touring later in the year?

Yes sir, yes ma’am. There will be a full U.K. tour when the album comes out, towards the end of summer, and a few bits and pieces in between. Check out www.jamesrileymusic.com/shows for more info.

Is there any advice you’d give to artists emerging right now?

Make sure you are spending enough time doing what you love and not spending most of your time on social media. It’s advice I am constantly trying to give to myself.

 IN THIS PHOTO: Thomas Jane Smith

Which upcoming artists do we need to keep an eye out for?

Thomas James Smith - a gifted singer-songwriter and arranger with a stunning new album coming out this year.

James Patrick Gavin – lovely guy and a world-class fiddle player with a colossally ambitious solo Folk project on the boil. Stay tuned.

Alice Phelps – dazzlingly talented harp player, singer and songwriter with a new album close to completion.

Simeon Hammond Dallas – Pint-sized lady with an enormous voice and a real knack for making words sounds amazing. Also, a busker by trade. Respect.

Hey Buddy – Psych/Funk outfit from Brighton. Monster musicians with a slightly tongue-in-cheek, millennial bent.

Sam Castell-Ward - I work with him through a learning disability charity. Eloquent Psych/Folk with a searingly intense perspective on the world.

 IN THIS PHOTO: Simeon Hammond Dallas

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

Sure. I’ve started to swim a lot recently. I find it very meditative…there’s no distractions and you’re just concentrating on your breathing and processing, basically. It’s actually pretty much helped me lose some baggage. That and therapy, which I also would recommend to everyone. Other than that, I like to go on very long walks and get out of London when I can. I love to read. Poetry especially. I read fiction but my frequent lack of focus means it often takes me a long time to get down to reading a whole book.

Finally, and for being a good sport, you can choose any song you like (not one of yours) and I will play it here.

It’s actually one of the ones off my favourite albums which I mentioned earlier: Lalene from Facing You by Keith Jarret. Sublime Gospel/Blues/Soul piano meditation by one of the absolute masters

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Follow James Riley

PHOTO CREDIT: Ray Tarantino 

Official:

https://www.jamesrileymusic.com/

Twitter:

https://twitter.com/jamesrileysongs

Facebook:

https://www.facebook.com/jamesrileysongs/

Spotify:

https://open.spotify.com/artist/5J1PKnbRLsunWTLWbXp2s2?si=1TPrFMADTl6M6rBGM74vig

Instagram:

https://www.instagram.com/jamesrileysongs/

YouTube:

https://www.youtube.com/channel/UCgV78-Xw2YycmDG_AmoQe9g

FEATURE: There’s No Place Like It: Beyoncé’s Homecoming and the Revolution of the Concert Film

FEATURE:

 

 

There’s No Place Like It

IN THIS PHOTO: Beyoncé in a promotional still from the Homecoming documentary (where she discussed her lead-up and route to Coachella 2018)/PHOTO CREDIT: Parkwood Entertainment

Beyoncé’s Homecoming and the Revolution of the Concert Film

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I am not usually prone to concern films...

 IMAGE CREDIT: Getty Images

and celebrating gigs because, now, I don’t think there is the same shine and sheen. Look at classic gigs through time and you can see why we celebrate them and preserve the memory. Whether it is The Band’s final show or Nirvana playing unplugged in New York; The Beatles at their peak or classic Woodstock footage, we all have fond memories regarding gigs. Nowadays, there are venues around the world and big artists are touring the world with extravaganzas. It gets harder and harder to select these iconic gigs because there are so many. We stream a lot of music and films but how often do these worlds collide? I would like to see icons like Sir Paul McCartney play at an arena or the likes of St. Vincent and Solange playing. Would there be an appetite for these and would people dedicate tome to watch these gigs?! I do feel like we are becoming less patient and not really fascinated by the look and texture of a gig. We are happy to attend them but how often do we rhapsodise about gigs and how epic they are?! A few days back, I wrote about Kate Bush’s Tour of Life in 1979 and how she managed to transform the nature of a gig. She brought theatre and mime together with theatre and the spectacular. Artists like David Bowie took guidance from her and, soon enough, shows become more ambitious and transitioned beyond mere music.

Have we become too familiar with gigs and are not being surprised? One of the problems is that there is very little beyond the songs and the routine. Where is the explosion and the cast? When do we see something mesmeric and dramatic? Maybe artists have a slight budget but, with Beyoncé in the news, her Homecoming show has got people excited. You can see it on Netflix and her unbelievable set at 2018’s Coachella. I remember hearing the news about it and not seeing anything like it. There was a huge array of dancers and complex routines; so many different movements and looks that made it more like a dazzling film than a concert. You can listen to the live album and hear the crackle and thrill of the performance. Pitchfork reviewed the album and underlined why Beyoncé’s 2018 Coachella performance was history-making:

“#Beychella redefined what was possible for a music festival. On stage, over 200 bodies undulated in unison but miraculously, every body moved in its own way. They filled out a set of risers constructed into a pyramid, built to look like the bleachers of a football stadium at a black college or university. Filling the structure was an orchestra that included a drumline and a full brass band that introduced themselves with the steady refrain of the Rebirth Brass Band’s “Do Whatcha Wanna.” Male dancers stood in a trembling line like black fraternity pledges, female dancers dressed as majorettes, background singers formed a choir of unified sound and movement, folding their bodies into Beyoncé’s intricately aggressive choreography…

Beyoncé’s core musical vocabulary is the rhythm and bounce of a tune. She’s a classicist who believes in a song’s structure—choruses, bridges, meticulous verses, extended vamps, key changes. Her uptempo songs like “Crazy in Love,” “Countdown,” and “Love on Top” are some of the most inventive, dexterous pop and R&B music of the past couple of decades. For nearly the entire 110 minutes, she isolates these adrenaline-spiking cuts, amplifying their kinetic energy with marching-band arrangements. The extended version of B’Day’s 2006 single “Get Me Bodied” is a highlight here, as is 2005’s “Check on It.” Both are supercharged booty thumpers, more than a decade old that sound newly baptized in the world of Homecoming: the clarion calls of trumpets and whoomps of sousaphones, the foot-stomping on the risers and the off-mic “ayys” of the dancers that are sprinkled throughout. The arrangements amplify the relationship Beyoncé’s music has to the inherently percussive body”.

The live album is the music itself whereas the Homecoming documentary itself has behind-the-scenes features and gives a visual edge to the gig. Beyoncé has already been afforded a $60 million three-project deal with Netflix following Homecoming. Although gigs themselves are not being utilised regarding film, there is a rise in music documentaries. Everyone from Aretha Franklin, Lady Gaga and Taylor Swift has been the subject of a documentary but Beyoncé’s Homecoming blows the doors open and changes things.

You can talk about the sets and choreography of her Coachella performance but there was history being made. This article from The Guardian looked at the power of Beyoncé and why her Coachella turn was more than performing the hits:

“And yet, despite her willingness to share the stage, Beyoncé is the priestess, the ringleader, insistent on her authorship of this one-of-a-kind spectacle, which marked the first time a black woman had ever headlined Coachella. The writer, director and executive producer of Homecoming, which runs 137 minutes and was released in concert with a 40-song live album, Beyoncé has a way of reminding us of her unique ability to hold a crowd in the palm of her hand, to defy the trend toward cultural diffusion and force us to stand at attention.

So Coachella, she explains, was the homecoming she never had, but also a paean to the rich culture and vibrant aesthetic of historically black colleges and universities, the insignia of which can be spotted on the bright yellow and pink hoodies worn by Beyoncé and her onstage battalion (the film brilliantly cross-cuts between Beyoncé’s two Coachella sets to create an almost kaleidoscopic effect, edited down to each gyration and stutter-step). And even with the relative sparsity of information about how the concept came together, Homecoming is, alongside the southern gothic feminism of Lemonade, Beyoncé’s grandest articulation yet of her artistic mission. It’s a mission so great, she looks to no less an authority than Maya Angelou to put it into words. “What I really want to do is be a representative of my race,” Angelou says over grainy rehearsal footage near the end of the documentary, in what was the last interview she gave before her death in 2014. “I know that when I’m finished doing what I’m sent here to do, I will be called home”.

IN THIS PHOTO: Beyoncé during her Coachella show/PHOTO CREDIT: Getty Images

I guess you had to be at the Coachella gig to get the full effect but the fact we have the live album and documentary means we get a more intimate and close look at this special and inspirational artist. The sheer scale, spectacle and colour one saw from Coachella exceeds anything we have seen in a very long time. I know there are big shows ad tours but Beyoncé topped them all and created a performance that will linger long in the history books. She used her platform to deliver power and passion – this extended beyond the music and provided education, history and the celebration of black Americans: The BBC explained in more detail:

“Throughout Homecoming, Beyoncé included quotes and audio from black leaders and intellectuals, and I greatly appreciated the quote she used from W.E.B. Du Bois: "Education must not simply teach work - it must teach life."

This quote was radical and empowering over 100 years ago, and for better or worse it still leaves a lasting impact today. The quote is from Du Bois' "Talented Tenth" essay in 1903 that both articulated his vision of higher education for black people, and served as a stern rebuke to his rival Booker T Washington who advocated for blacks to prioritise industrial and agrarian training.

Beyoncé bookends her film with quotes from authors Toni Morrison and Maya Angelou, and their wisdom has always gracefully empowered our community, celebrated our humanity, and provided a richness to our struggle for equality that the world needs to hear.

The significance of Homecoming also is not merely about the celebrated African Americans featured in the film, or the behind the scenes look at how Beyoncé prepared for the concert; but is also about the foundational importance education has always held in the black community”.

There is a lot to love regarding Homecoming: from the stunning routines through to the messages Beyoncé was saying; to the electricity and sheer vitality of Coachella. It must have been incredible being there but, for those who missed out, we have this concert film that will get other artists interested. Homecoming is not a film made by a committee or designed to be simple and short. It is a passionate and personal feature that will resonate with Beyoncé fans and those who love live performance. Another reason why Homecoming is such a bold and vital step forward is because of the input Beyoncé had. The Guardian talked about Homecoming and how much say Beyoncé had:

“For critic and author Hanif Abdurraqib, the fact artists are given creative control over concert films – Beyoncé is named as executive producer and music director on Homecoming – makes them more attractive. “Creative control is a major plus for artists now, who already have so much control over what fans see and don’t see of their everyday lives,” he said. “Social media and the performance of public presentation have all blended into this landscape where an artist can truly write their own narrative for how they wish to appear.”

Forde adds: “It fits with Beyoncé’s approach because her image is so complicated and there’s so much nuance in the way she presents herself, why wouldn’t she want to carry that on in a concert film?

“The concert films need to have visual consistency to continue the aesthetic of Beyoncé”…

Beyoncé’s film is notable because there are moments of intimacy with the star, who has given no interviews since a sit-down with Oprah in 2013. During Homecoming the audience follows her as she discusses trying to recover physically and mentally after having twins in June 2017. It’s the most intimate portrait of her in years – even if every second is delicately stage-managed”.

There is so much to unpick regarding Homecoming and where we go from here. At a time when artists are not using their stage to discuss important issues or truly create something memorable, I do hope that there is this wave of response that ups the game. I do feel like we have moved away from concert films and do not consider them essential. Beyoncé will not change things on her own but she has shown what is possible. Listen to the live album and, if you can, see Homecoming and get inside this remarkable gig. I cannot wait to see where Beyoncé heads next but, with her, you know it will be very special! She has been a pioneer and inspiration since her Destiny’s Child days but, in these turbulent times, her status and name has grown bolder and more important. I think a great concert film can give us a greater love of gigs and the artist behind them. We all attend gigs and get that rush but do we understand the levels and layers involved? Do we think beyond the music and do we experience something truly life-changing? It will be a hard feat equalling Beyoncé but I do feel Homecoming is a big explosion. If you need something to lift your spirits and open your mind then play Homecoming and experience something…

UTTERLY wonderful

FEATURE: Persona Grata: The Great Alter Egos Behind the Major Artists

FEATURE:

 

 

Persona Grata

IN THIS IMAGE: David Bowie as Aladdin Sane/PHOTO CREDIT: Brian Duffy

The Great Alter Egos Behind the Major Artists

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THERE is a lot of buzz around Madonna right now...

as she is back with new music. Her previous album, Rebel Heart, was out in 2015 and there have been a lot of people waiting for new stuff. Madonna is no stranger when it comes to reinvention and bringing something fresh to the party. Most of these evolutions regard style and genres: occasionally, she has been known to embrace other personalities and roles. In fact, look back at 1992’s Erotica and how we saw a new side of Madonna. At the peak of her career, she could have repeated 1989’s Like a Prayer or made a move back in her career. In a progressive step that was not welcomed by all critics, she adopted the moniker of ‘Mistress Dita’ and assumed a more sexualised and confident look. The idea behind the alter ego was to highlight sexual freedom and confidence. Madonna was not looking to shock and offend people. Instead, we had this rather enigmatic and unusual heroine who, on the surface, was all rubber, scandal and provocativeness but, underneath, there was a deeper meaning and motivation. Madonna had already released a few albums as her and, whilst Erotica was a Madonna record, she used this Mistress Dita as a way of bringing a new character into her world. Now, twenty-seven years after that album, her second fully-fledged alter ego is here: Madame X is an updated and broader representation of Erotica’s muse.

It seems that this new personality is a superhero heroine who is everything and more. There is not a clear backstory yet but, as we have seen with Twitter teases, there is the teacher, the mistress; the lover, the nun and everything else. Some might claim this is a marketing tool and way of keeping her reputation burning but it is another step forward from an artist who has remained essential since the start of her career. Madame X seems to beckon this new era for Madonna; a character that is less alarming and direct than Mistress Dita but, in a way, more inspiring and interesting. When her album, Madame X, arrives in June, we will get all the different sides to this persona. Maybe it is not as affecting when new artists do it but it is great seeing legends embody someone fictional for an album. Madonna is definitely not alone regarding alter egos. I will come to the artists who, I feel, is the finest when it comes to reinventions but look around and you will see some other great examples. There have been some stumbles along the way – anyone recall Garth Brooks’ reinvention as Australian Chris Gaines back in 1999?! – but the more successful personas have definitely captured something. In a world, now, where superhero franchises are huge I do wonder whether big artists could reinvent themselves and produce a character like this; someone who could have their own film and drama.

So much of modern music is about process and the familiar: breaking conventions and the routine to bring a persona can backfire but it also makes for something brave and new. I am writing about Beyoncé later today but, back in 2008 she released I AM… SASHA FIERCE. This album arrived after B’Day (2006) and took a while to resonate. I like what she did but I felt many missed the all-out bangers and the sort of directness we had with previous Beyoncé albums. Sasha Fierce was already familiar as Beyoncé’s on-stage alter ego but there was a dichotomy on the album. The first half, I AM…, was a slower set of songs whilst SASHA FIERCE represented fire and the up-tempo. A lot of the muted response to the album was the difference between the softer numbers on the first half and the more traditional Beyoncé jams on the second. It was, essentially, the alter ego unleashed that was more impactful than the more reflective and heartfelt artist. Beyoncé is a celebrated icon and was a huge artist back in 2008. Bringing that stage persona to an album was a big move and one that, whilst not immune to criticism, inspired many and made a huge impression of her core fanbase – predominately young/teenage girls. Away from strong women like Madonna and Beyoncé, artists such as Eminem have adopted personas. He has been dubbed ‘Slim Shady’ and ‘Eminem’ as well as ‘Marshall Mathers’ – which is his real name.

The Slim Shady alter ego is a ruder, more comical version of Marshall Mathers but, on all occasions, it provided Eminem the chance to embody someone else and allow himself greater license and creative freedom. This article from udiscovermusic looks at some of the best-known and loved alter egos in music. Included are Paul McCartney, Prince and Nicki Minaj:

“After making Ram in 1971, Paul McCartney produced a big-band instrumental version of the entire album, which was later released in 1977 under the mysterious moniker of Percy Thrillington. Paul McCartney, along with his wife Linda, invented the fictitious character and even went so far as to take out ads in various UK music papers announcing Thrillington’s activites as well as spinning a detailed backstory for the Percy Thrillington liner notes.

More than a stage name, musicians have been creating multiple identities as part of their performance for centuries. For some, it was only for an album. When The Beatles wanted to retire their mop-top boy band image and be considered serious artists, they created Sgt. Pepper’s Lonely Hearts Club Band. For others it was self-mythologising, with Robert Zimmerman dropping his supposedly unfashionable moniker for the much hipper Bob Dylan, complete with an itinerant troubadour backstory. For others, it was due to industry pressure. When Simon & Garfunkel were told their names were too “ethnic sounding”, they recorded under “Tom And Jerry”, borrowed from the cartoon adversaries. And some are just ill-fated from the start, like Garth Brooks’ fictional rock star persona Chris Gaines. From country to rock, jazz to hip-hop, these personas embody a specific moment in an artist’s development. Here we pick just a handful of the most famous alter egos from the 50s to today.

IMAGE CREDIT: Getty Images

Prince’s unreleased albums are nearly as famous as the ones he did release, with the only comfort being that some of this shelved material ended up on official albums. Such is the case with Camille, the 1986 unreleased self-titled debut by Prince’s gender-fluid alter ego. While Prince was no stranger to employing his falsetto (or alter egos, for that matter: Jamie Starr, Tora Tora and Alexander Nevermind are just a few others), for Camille, he purposely recorded his vocals at a slower speed and then adjusted them to the higher pitch to achieve a more feminine sounding voice. Most of the Camille tracks later appeared on 1987’s Sign O’ The Times, including ‘Strange Relationship’, ‘If I Was Your Girlfriend’ and its B-side ‘Shockadelica’.

In the self-serious landscape of hip-hop, Nicki Minaj is a true chameleon, employing various wigs and guises to embody alter egos, each with their own backstory – so much so that there’s an entire wiki page to track them all. The most famous (and Minaj’s personal favourite) is Roman Zolandski, a fast-talking, flamboyant British gay man who courts controversy. After first making an appearance on Trey Songz’s hit ‘Bottoms Up’, he pops up on other Minaj hits, including ‘Roman’s Revenge’, ‘Roman Holiday’ and ‘Roman Reloaded’. His mother, Martha Zolandski, is another one of Minaj’s alter egos, alongside Harajuku Barbie, Female Weezy (Lil Wayne’s female counterpart), Point Dexter and more than 10 others”.

You only need to look through articles like that to discover all the alter egos you have missed through the years. It is interesting when considering The Beatles and their album, Sgt. Pepper’s Lonely Hearts Club Band.

Back in 1967, there had been a few alter egos in music but a lot of them had been from psychedelic acts and not many mainstream Pop artists were doing this. The Fab Four were as we knew them but, in trippy clothes and adopting this more militaristic and fantastical identity, they helped craft one of the most influential albums of all time – even if the record itself was not strictly a concept; its opening and closing tracks mention the fictional band but it is not mentioned anywhere else. The Beatles not only inspired other bands to try something different but, with that album, they pushed the studio to the limits and helped take music to a whole new level. This interesting article investigates some of the modern artists who have followed in the footsteps of Madonna, The Beatles and David Bowie:

“Coming off of the enormous success of his 2015 sophomore album Beauty Behind the Madness, The Weeknd quickly went to work again on his 2016 follow-up record, Starboy. Inspired by another Bowie character, Starman, The Weeknd killed his old persona (literally in the "Starboy" music video when he suffocates himself with a plastic bag) by cutting off his signature dreadlocks, creating a brand new character: the boastful Starboy.

The Weeknd told Zane Lowe in their Beats 1 interview about Starboy's personality, "He's a more braggadocios character that we all have inside of us".

Starboy brags about his expensive cars and sings about girlfriends snorting cocaine off of his ebony wood table. There's always the negative that comes with fame, though, and for a brief moment it seems as if he might regret his decision to become a mega pop star when he sings, "Look what you've done."

As it turns out, the devil really is in rock and roll - and he's flashy. U2 front man Bono took on the devil-meets-glam-rock-star Mr. MacPhisto during the band's ZooTV tour in the early '90s. On the same tour, he also morphed into The Fly (a vinyl-clad stereotypical rock star) and Mirror Ball Man, who author Bill Flanagan describes as an "American TV evangelist/used car salesman/game-show host in a cowboy hat throwing dollars around." Both The Fly and Mirror Ball Man laid the groundwork for MacPhisto. Bono explained in his autobiography, U2 by U2:

"It was time to put the Mirror Ball Man in mothballs. We wanted a more Eurocentric character, more decadent, more old world, rather than the brash Yankee salesman with God on his side. I started to think about what The Fly would be like when he's old and fat and playing Las Vegas. U2 conjured up the Devil!"
Lady Gaga, known for her outlandish fashion statements and over-the-top performances, pushed the envelope even further in 2011 at the MTV Music Awards when she performed in drag as her male alter ego Jo Calderone. Not only did she physically transform herself with a swoop of black hair and sideburns, but she stayed in character, only answering questions backstage as Calderone.

IN THIS PHOTO: Lady Gaga as her male alter ego, Jo Calderone/PHOTO CREDIT: Terry Richardson

"My family's from Palermo, Sicily. And I'm not a singer or a model or actor or anything, I'm just a guy," Jo said.

Gaga originally created the character months earlier on the sly and sneaked him into a men's fashion editorial for Vogue Hommes Japan, leading fans to wonder if this new male model with a rough-around-the-edges style was indeed the female singer”.

It can quite strange for a relatively fresh artist to adopt a persona and some cynics might say it indicates a lack of original thirst. Conversely, artists who create a new moniker are looking to represent themselves in a way not explored before. Maybe being themselves is a bit too straight and they have to be overly-personal. One can allow some fantasy and expansion when you have an alter ego. It can, as said, be difficult getting the balance right and making the venture successful. There have been failures and confusing attempts but, when you hit the right notes, the effects are mesmerising! This article counts looks at the most famous David Bowie alter egos. There are no other artists out there who have enjoyed as many successful and compelling reboots as David Bowie. Even up until his final album, Blackstar (2016), he was trying out new guises and directions. The Independent, in this article, looked at Bowie’s different faces and personalities through the years:

“His first and arguably greatest alter ego was born when Bowie broke through into the mainstream with Ziggy Stardust. Face daubed with a lightening bolt and mullet hairstyle dyed crimson red, Ziggy Stardust was a bisexual rock star alien who acted as a messenger for extra-terrestrial beings. Dressed in a multi-coloured Lycra jumpsuit, Bowie’s androgynous, wafer-thin doppelganger came to redefine an entire era of rock’n’roll. Widely considered one of the greatest albums of all time, it went on to sell an estimated 7.5 million copies worldwide…

“It was Major Tom who first propelled Bowie into the limelight. As the protagonist of ‘Space Oddity’, Major Tom helped establish Bowie as a solo artist to be reckoned with in 1969. A fictional astronaut, Major Tom has cut off all of his communication with planet Earth and floated into space. The character evolves throughout his career, making another appearance in the 1980 song ‘Ashes to Ashes’.

Aladdin Sane was a continuation of Ziggy Stardust. The protagonist of his sixth album, Bowie describes the alter ego as “Ziggy goes to America” because the album was inspired by his 1972 US tour. Later, he also told friends that the character was inspired by his brother Terry who was diagnosed with schitzophrenia. After all, the name is based on the pun ‘A Lad Insane’.

The darkest of all of Bowie’s alter egos, the Thin White Duke coincided with the peak of his cocaine usage. Although, on the surface, the Duke seemed more ordinary than Bowie’s former personas, at a closer look, he exhibited signs of real trauma. Bowie describes the Duke as, “A very Aryan, fascist-type; a would-be romantic with absolutely no emotion at all but who spouted a lot of neo-romance”.

It is heartbreaking that David Bowie is no longer with us because who knows where he could have taken that keen eye for reinvention, persona and the unusual. Who knows, also, how many other artists he inspired to break from the ordinary and step into a new realm? I think Ziggy Stardust is my favourite of his incarnations but I hold a special place for Aladdin Sane and The Thin White Duke. The darker Bowie, at the peak of his cocaine intake, was controversial but I think the most intriguing and complex iterations.

This feature shows that, even as late as 2016 (the year he died), we were seeing David Bowie adopt a new character:

“The Blind Prophet After playing many different characters, on his last album, Blackstar (2016), Bowie shows the real him: David Robert Jones. In the videos, his eyes were covered with bandages as his character was a blind prophet foretelling his own demise. The black star on the vinyl cover contains a hidden message, transforming into a galaxy of stars when light shines on the cover. A beautiful goodbye message to his fans, since David Bowie passed away just days after the album's release”.

The death of Bowie, perhaps, took away the godfather of disguise, character and alter egos. He was a master when it came to embodying these marvellous creations but, rather than mourn a trailblazer, it is worthwhile using Bowie as a lead. Modern artists like Nicki Minaj and Eminem have taken their music in new directions but I feel like more can be done. I do feel like we get caught in the rush of promotion, all the new artists and news coming through. I have a lot of respect for artists who do things traditionally and like to walk that path but, for those who try something different, the effects can be incredible. I do not think there is anything calculated and cynical regarding reinvention and adopting a new name/guise. From David Bowie and Beyoncé to Madonna, Eminem and The Weeknd, there have been some cool and out-there alter egos. Against all the routine, predictability and ordinariness of music, having these eye-opening alter egos in the world gives music…

IN THIS PHOTO: Beyoncé as Sasha Fierce/PHOTO CREDIT: Getty Images

A definite spark!

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Olivia Nelson 

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

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WE can truly say that spring has arrived...

 IN THIS PHOTO: Bloom

as the sun is shining and the heat is properly among us! I love the fact that the sunshine is blaring and we have some great music to keep us entertained. Among the female-led gems for this week is some Pop, Soul and, well, pretty much everything. There is a lot of variation in the pack and so many different shades to investigate. I have been looking through the fresh releases and deciding which songs will fit best on this spring-ready list. Have a listen to these top tracks and I know there will be something in there that…

IN THIS PHOTO: Maiah Manser

GETS you pumping!

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

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Ellie Rose – Audrey

Lizzy Land – Call Me

PHOTO CREDIT: Nathan Russell

Lauran Hibberd - Hoochie

PHOTO CREDIT: William Arcand

Claudia Bouvette – Cool It

PHOTO CREDIT: Onishi Ltd

KINNOHA – Feel for You

Angelique Kidjo – Sahara

PHOTO CREDIT: Skulljan

Made in June – Cha Cha

Alex Hepburn – Good Woman

>

Morgan Saint – god bless our souls

PHOTO CREDIT: Austin Roa

Jade Bird – 17

Dinah Jane – Fix It

Jasmine Rae – Right Now

Sophia Scott – Drink Too Much Wine

Jain – Gloria

Bananarama – Stuff Like That

Olivia O’Brien – Just a Boy

PHOTO CREDIT: Geert Breeks

Tusks – Foreign

Ida Wenøe - Another Kind of Love

Olivia Nelson – No Answer

Stealing Sheep – Just Dreaming

Katie Toupin – Magnetic Moves

Bloom – Ground

PHOTO CREDIT: @annaazarov

Maiah Manser – See Thru It

Dressy Bessy – Tiny Lil Robots

Hannah Cohen – All I Wanted

IYVES – Gold

PHOTO CREDIT: Alison Mckenny Photography

Mairead Furlong – Cocoon

PHOTO CREDIT: Nicolae Bernal

A.O. Gerber – Strangers

FEATURE: The April Playlist: Vol. 3: I’m Not Medellin in the Homecoming Celebrations!

FEATURE:

 

The April Playlist

IN THIS PHOTO: Beyoncé

Vol. 3: I’m Not Medellin in the Homecoming Celebrations!

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THIS week has few tracks/standouts…

 IN THIS PHOTO: Loyle Carner

but the ones we do have are from some mighty artists. There is fresh material from Madonna and Beyoncé and, as two of the biggest names in modern music, it is great to have stuff from them out! There is also music from Beck, Lizzo; Loyle Carner, Jade Bird and The Flaming Lips – there is no shortage to be found when it comes to quality! Have a listen to this week’s best tunes and I am certain there are some moments in the pack that will capture your imagination. It is a big week for tracks but I think the Madonna and Beyoncé revelations stand above them all! I have compiled a playlist to get the weekend kicking off and moving. Take the songs with you and get behind all the magnificent songs we have been treated to. The sun is out, the temperature is rising and, in the world of music, things are definitely hot…

 IN THIS IMAGE: Madonna

RIGHT now.  

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

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Madonna, Maluma - Medellín 

Beyoncé – Formation (Homecoming Live)

PHOTO CREDIT: Ellie McIntyre

Jade Bird – Uh Huh

Lizzo – Better in Color

PHOTO CREDIT: Lauren Dukoff

Beck – Saw Lightning

PHOTO CREDIT: French Vanilla

Loyle Carner – Krispy

Carly Rae Jepsen - Julien

The Flaming Lips – All for the Life of the City

The Cranberries – In the End

Honeyblood – She’s a Nightmare

Fat White Family - When I Leave

Four Tet – Teenage Birdsong

Cate Le Bon - Home to You

EELS - You Are the Shining Light

She Drew the Gun - Paradise

PHOTO CREDIT: Neil Krug

Cage the Elephant – Social Cues

Jain – Gloria

Modest Mouse – I’m Still Here

Peggy Gou – Han Pan (Original Mix)

Blossoms – I’ve Seen the Future

 

Blake Rose – Best of Me

Ellie Goulding - Sixteen

PHOTO CREDIT: Dani Hansen

Jack Grace – Slow Burn

PHOTO CREDIT: Eliot Lee Hazel

Tune-Yards – SIGNS (Detroit’s Theme)

Dinah Jane – Heard It All Before

Tom Rosenthal – Spring 

Tusks – Foreign

LEISURE – On My Mind

Another Sky - The Cracks

PHOTO CREDIT: Mats Bakken Photography

Ora the Molecule – The Cup

No Rome – Cashmoney

Chasing Abbey – 6 O’clock

INTERVIEW: Jamie Hannah

INTERVIEW:

Jamie Hannah

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THIS is a bit of a hold-over interview...

but it has been nice finding out about Jamie Hannah and his music. He discusses his latest track, Sound of My Youth, and future plans working with Boy George; counting Dame Emma Thompson as a fan and which albums are important to him and which rising artist we need to watch.

I ask Hannah whether there are tour dates coming up and who he’d support on the road if he could choose anyone; how important it is being up on the stage and whether he ever gets chance to chill – he selects a really good track to end the interview with.

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

What a busy week I’ve had. My debut video premiered on Billboard in New York this week. What an amazing reaction I have had. I have also been busy preparing for my first tour. I am the support act for Heather Small on a nine-venue tour around England – so lots of rehearsals with the band, sorting out sessions on the local radio stations and arranging interviews with the press. There is so much to do!

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

I am a classically trained Pop singer writing and performing my music. My music is Pop music with lots of Classical influences.

Sound of My Youth is your current single. Can you reveal its origins?

This song is about memories of first love that ended badly. I use the illusion of water and the feeling of drowning to try and explain how I felt about the break up.

You have famous fans including Boy George and Emma Thompson. How does that feel? Have you met them both?

I met Boy George through my producer, Benny D, as they are long-term friends. George and I then met for lunch and we took it from there. We have worked together writing a new song. He is a great mentor and very generous with his time and advice. My next single, House of Truth, is one he has written and we have collaborated on.

Emma is the mother of one of my very good friends. We have met many times and she is great fun and very supportive.

Might there be more material coming later in the year?

My next single is ready to go and I also have an E.P. of tracks on tape waiting to be released.

Do you think your sound has changed and evolved a lot since the earliest days?

Originally, I was a trained countertenor Opera singer. I still use those techniques to sing Pop music. I sing different types of music and my sound is still evolving.

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

I love all kinds of music: Popular, Music Theatre; Jazz, Classical. If I were to single out any one genre it would be the big pop divas such as Arianna Grande, Elton John and Freddie Mercury.

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

So many amazing memories. Probably working with Boy George was a huge highlight. I was also part of a small group of singers that sang with Kylie Minogue at a series of her Christmas concerts at the Royal Albert Hall two years running. She is a superb performer and is really in touch with her audience.  What an experience.

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

Songbird – Eva Cassidy, Sweetener – Arianna Grande and Back to Black - Amy Winehouse. Stunning voices, amazing talents; all masters of their genres.

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

I am touring this month supporting Heather Small. This is such an honour and I am hugely looking forward to it. I would love to do a big arena tour with someone like Rita Ora, Little Mix or Dido. That would be mega.

Are you planning any gigs in the coming months?

Yes. I have a tour with Heather Small around England until 26th April. In May/June, I will be promoting my new single with Boy George at a variety of gigs, festivals and other events.

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

I love both. When I am performing, I am understanding and reacting to the audience itself. When I am in the studio, the band and I are working and combining to get down on track how I want my music to sound. Both are hugely satisfying.

Can you describe the feeling being on stage and feeling the music connect with the crowd?

I just love it. There is no better feeling than when you and your music connect to an audience.

 IN THIS PHOTO: Freya Ridings

Are there any new artists you recommend we check out?

I am always listening to lots of new artists but Freya Ridings really stands out to me.

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

Not at the moment! If I were to take time out it is to go to the gym or walk my dog…and meet up with friends for meals. I also love travelling and sunshine!

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).

Eva Cassidy – Autumn Leaves. My granddad was an amazing Jazz pianist and he played this. It always brings a lump to my throat

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Follow Jamie Hannah

Twitter:

https://twitter.com/justjamiehannah

Facebook:

https://www.facebook.com/justjamiehannah/

Spotify:

https://open.spotify.com/artist/6ClC6zGAd1tGdbHqtlnnI5?si=5RhzfZLrSxmeHE42TA7kqw

Instagram:

https://www.instagram.com/justjamiehannah/

YouTube:

https://www.youtube.com/channel/UC8yR5IbfpMnFSXRlkIcmEyw

TRACK REVIEW: Madonna (ft. Maluma) - Medellin

TRACK REVIEW:

 

Madonna (ft. Maluma)

Medellin

9.5/10

The track, Medellin, is available via:

https://www.youtube.com/watch?v=b8PtBzdiZ3g

GENRES:

Latin/Pop

RELEASE DATE:

17th April, 2019

LABELS:

Boy Toy, Inc., Live Nation Worldwide and Interscope Records

The album, Madame X, is available from 14th June, 2019. Pre-order here:

https://madonna.lnk.to/MadameX

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EVEN though I have been...

writing on this blog for over seven years, I have never reviewed Madonna before! It is hard to know where to start but, when considering her latest track, I want to investigate alter egos and personas; collaborations and big artists who fuse with others; longevity in the industry and keeping fans behind you; teasing material and building up that sense of mystery and defying ageism in the music industry – I will end by looking ahead at where Madonna might step next. I am writing more about this later today but I am interested when artists invent a persona and their own character. It can be quite interesting seeing artists take a big leap between albums and taking their sound in a new direction. More compelling than that is someone who can change their identity and bring about this new figure. In Madonna’s case, she is not new to the alter ego. One might say that every album she has produced has given us a fresh personality but, in terms of a unique character, Erotica was the first reinvention. That album came out in 1992 and arrived at a pretty interesting time. She wowed critics with Like a Prayer in 1989 and was at the peak of her powers. Every album before that saw Madonna rise and grow but it was her 1989 record that broke her into the realms of superstardom. Madonna needed a logical move or a step away from what she was doing. Mistress Dita was/is this saucy, dominating woman who gave Erotica its necessary edge and sexuality. The album received some raised eyebrows but it was the first time that Madonna had embodied this character. She did not do anything radical with her voice but there was this sort of concept running through Erotica. Madonna was bold on Like a Prayer but Mistress Dita gave her this platform to write material that was a little more provocative and risk-taking. Even though that was twenty-seven years ago, this new embodiment seems to be a more fleshed-out version of Erotica’s heroine.

Madame X will be hitting the shelves on 14th June and its titular heroine is this all-encompassing superpower. Almost like a secret agent, Madame X is, as Madonna said on her social media feeds, this mother and lover figure; a teacher and spy; a whore and equestrian. These titles/jobs might give us an insight into what the songs on Madame X will sound like. There has already been talk/news regarding Madonna using a horse for one of her music videos so that is where the equestrian angle comes in. She has been rumoured to have a video using drag queens in the pipeline – no idea which part of her character that would embody. In many ways, Madame X is an extension of who Madonna has always been. She has always fought for freedom and wanted to change lives; wanted to touch people and give them a voice. Madame X is this spy-like character that travels the world and can be a nun and saint; a prisoner and criminal who reveals different aspects and angles. It is intriguing to think how the songs on Madame X will sound and whether she will use different sides of the character on each. Erotica was a sexual and confident album but, from song to song, there was not necessarily a different side of Mistress Dita. Here, it seems like Madame X will be the chameleon and project a different side in every song. This means the album will have that flow that keeps it fresh; a series of little stories all connected to this heroine. The first track, Medllin, has Latin rhythms and is more about Madonna and her partner, Maluma, embraced in this rare and exciting love. I will talk more about that track but it is more about Madonna as the rebel and lover of Madame X. I am interested seeing what other songs are about because, in my opinion, having this character is more interesting than a traditional album. We get to see Madonna in a new light and embrace this strong and inspiring figure. Each song, I guess, finds her traveling the world and changing her personality in this rather cool way. Nobody is quite sure what Madame X will sound like but, from its first offering, it will be pretty impressive!

I was a bit worried when Madonna revealed her tracklist for Madame X as there are quite a few collaborations. Out of the thirteen tracks announced, five have other artists on it. That might not same like too much but I do look back at her earlier career and there were not many times when Madonna had to share the spotlight. Apart from duetting with Prince on Love Song (from Like a Prayer) and having people like Babyface sing on her tracks, it has been all her. In more recent albums, Nicki Minaj has been involved and Madonna has been keen to promote various producers – giving them quite a big billing on album covers. Whilst Madonna is the star and the reason we will buy Madame X, I do wonder whether other parties will take too much focus away from her. As she has this new persona and storyline, these other artists give additional voices and characters. I can appreciate that they need to be there so the album has this sense of story and narrative but I do feel like a few less cooks in the kitchen would have been a good thing. In the Spotify era, collaborations are a great way for artists to get more people listening to their music. A big artist can bring others on and, in an instant, the profile of the lesser-heard artist can rise. I am not cynically claiming collaboration is about business and getting the numbers up but a lot of songs do not need others performing on them – or not as many as you get! I hear songs with five or six different artists on it and it can be pretty annoying! In the case of Madonna, she has carefully selected her collaborators and has always worked with different acts through her career. Collaborations before have been quite subtle and it is only in recent years where other performers have taken more of a role in her sound. Madonna does not really need others to make her look and sound great but some say that her collaborating is an effort to remain relevant and fresh in a competitive market.

That would be wrong as Madonna is the Queen of Pop and will always have a huge fanbase. The landscape has changed since she burst through in the 1980s and there is a lot more to choose from. Music has become more digital and the type of music we favour is also different. Doing what she did back in the 1980s and 1990s might not work now and there is nothing wrong with joining with other artists. It will be a big test for Madame X as to whether these other artists take too much focus. Five songs have collaborators and I just hope that Madonna is not pushed out of the way and has minor say when it comes to the vocals. If you have the odd duet or another voice in the background, it can be highly effective and original. Maluma features a couple of times on the album and seems to be a lover-type figure. There are no big names collaborating which makes me feel like there is not going to be that feeling world-famous and legendary figures are in there just to revive their career. On the other hand, I have not heard of any of the collaborators on the album and, I guess, they are trendy and cool with the young folk. Madonna has a reason for including them but I do wonder whether, instead of the hip newcomers, she could have created a bigger punch joining with more established and long-standing artists. I am not a big fan of the BBC Radio 1-type artists who seem very popular and cool but will not endure many years from now. Madonna does not need these type of artists to make her cool and current but, so long as motives are pure, then it is fine. Recent Madonna records have brought in super-cool producers and artists but I think it is a way of making sure her material is in good hands and sounds contemporary. She could not well keep writing and producing with the same people in a climate that has changed; she needs to bring in the new core and, yes, use other artists to bring new fans/eyes Madonna’s way.

Not only are new personas and constant creative shifts a reason why Madonna ensures and inspires but she has knows what the people want. Look back at her early career and Madonna was aware of how good she was and what the scene was lacking. She talked about deeper subjects and tackled things that others were not. There was this boldness and confidence that meant she was a standout artist from the 1980s and 1990s. Able to fit in with changing musical trends and keep her material fresh and individual, Madonna was much more inventive, savvy and strong than her peers. She is shrewd when it comes to business and takes care of every aspect of her career. Look at the way Madame X has been promoted and teased and here is Madonna able to adapt to 2019. That sounds patronising but she is not an artist who sits back and assumes her legacy will create sales. She realises people need to promote in a certain way and has created this great campaign. As opposed doing a few interviews and letting a team run things, she is more hands-on and is keen to take care of things. Madonna also celebrates her older albums and wants people to discover them. This balance between a very modern artist and someone who acknowledges her past is fascinating. I have seen some legendary artists lose fans because they either do not change or they sound a bit fake when trying to modernise. Madonna knows what her fans want and does not change that. She needs to keep evolving and looking forward but she could easily sell out and be someone different. There are multiple reasons why Madonna has endured but she can read the market and is able to change and create these steps without losing her core and true identity. The music itself remains strong and always keeps you guessing. Others need to look her way regarding how to survive and remain in a very challenging industry.

I have been a fan of Madonna since the 1980s and feel that she has many more years ahead. She ruled Pop in the 1980s but knew that, in the 1990s, music was changing. Erotica brought in some Dance and House elements and she was aware of the European influence in the early-1990s. Ray of Light in 1998 was the first album to bring Electronic music fully into the mainstream and give producers like William Orbit a bigger voice. I think it is the risks Madonna takes and how she can see the future. Rather than copy what everyone is up to, she looks to the underground and creates something new. Madonna always bends sounds and united different genres and, on Medllin, she is at it again. This article from The Telegraph shows why Madonna backing a Latin sound is important – and what we might expect from the rest of Madame X:

“If Medellín is anything to go by, then the Queen of Pop is back to her usual genre-bending form. A collaboration with the 25-year-old Latin-pop sensation, Maluma, the airy reggaeton-infused track, named after the city in which Maluma was born, is written in both English and Spanish – perhaps unsurprisingly, given that Madonna already revealed her penchant for Latin music on her 1986 song La Isla Bonita.

The Latino flavour is timely: while sales of music in Europe grew by just 0.1 per cent in 2018, Latin America grew by 16.8 per cent. US pop stars have been paying attention – both Beyoncé and Justin Bieber have worked with Latinx artists since 2017 (the year when 19 predominantly Spanish-language tracks made their way into the Billboard Hot 100).

Several details about Madame X are still under-wraps, but we do know that Mirwais Ahmadzai, who worked with Madonna on her albums Music and American Life will be involved, as well as Rebel Heart producer Mike Dean”.

That foresight regarding sounds and utilising the best producers around means Madonna can keep her career burning and inspire a new generation. She is always moving forward and does not want to repeat herself. This is something that should act as guide to other artists who repeat themselves and never really shift between albums. Whereas some of her iconic peers are eager to remain still and not really embrace the modern ways, Madonna is always adapting and bending to ensure that nobody rivals her.

pic.twitter.com/oswdYUdCbz

— Madonna (@Madonna) April 13, 2019

There is always this talk regarding Madonna as Pop’s queen and whether she can compete now. Many say that people like Arianna Grande and Lady Gaga are overtaking her. There is a raft of new Pop artists who are popular but can one really lay claim to a new leader when Madonna is still kicking?! Given the body of work Madonna has and how she has changed music, I am not sure anyone in our life will rival what she has given music. The newcomers are okay but it is quite insulting to think that one could easily usurp Madonna with a couple of good albums and some big Instagram figures. You need to have respect for Madonna’s past and what she has given music. Madonna endures and compels today because she has that legacy but she has embraced modern technology and ways. She could just release a single or two and bring the album out – that would be fine and it’d sell well. Some relatively new Madonna albums have not sold as well as hoped but maybe that was to do with the social media campaign. Having this Madame X character means Madonna can build that sense of interest and use social media in a different way. She is posting photos and tweets regarding different aspects of Madame X and there is a new picture for each one. The teaser for the album was this cool little film where we saw Madonna in different costumes and giving Madame X this rather dramatic and flowing edge. She travels the world and is a chameleon that inspires, breaks and loves. I do feel like a lot of modern music and promotion relies on something quick and easy that we can digest and then move on from. Here, Madonna has given us something that requires a bit of imagination and actually hooks you in. You can call it gimmicky and a bit of a marketing tool but it is a natural extension of what she has done in the past.

I love the fact Madonna keeps things interesting and, in 2019, is still turning heads and getting people talking! I will move on to reviewing Medellin soon but I wanted to ageism in the industry. Madonna has faced this for a while now and, in fact, post-Music (2000), one feels like certain radio stations have overlooked her. Madonna is only sixty and showing that age does not matter. There are older artists who are producing gentler music and not quite as empathic as they were back in the day. Whether we are talking about Kylie Minogue or Sheryl Crow, they have faced ageism attacks and been relegated by radio stations that used to play their music. It is an issue that affects more women than men and I do wonder why there is this feeling an artist becomes irrelevant or uncool when they hit a certain age. Look at what Madonna has given to music and you can see how she has inspired and brought music to where it is. Albums like Erotica gave rise to more provocative and daring artists; each of her big records has resonated with artists and made them want to follow in her footsteps. It is a crying shame that many overlook Madonna because she has reached sixty and, therefore, needs to be shunned to a limited range of radio stations. Madame X will be an album full of life and pop. Madonna is not sitting down with an acoustic guitar and playing things safe: the always-enduing and influential leader is ensuring her music has the same sort of energy and desire it always has. Why, then, do radio stations ignore the sound and dynamic of the music and focus on age alone? I get the suspicion BBC Radio 1 will not be playing much of her album but maybe they will. It is strange that slightly softer and more romantic songs from recent Madonna albums have been overlooked but the more upbeat ones are okay. Perhaps joining with artists like Maluma means she has that crossover appeal but it seems tragic that it takes these relatively inexperienced artists to give Madonna a place on ‘younger’ radio stations.

A lot has been made of Medellin and some slightly dodgy lyrics. I shall come to them but, in terms of the opening notes, Madonna checks the microphone. She gives us a whispered and sensual “1,2…” and makes sure people can hear her before things kick off. In some ways, it is Madonna returning to the stage and getting people’s attention. Before you get any images of Madonna on the stage and being this sort of cabaret figure, she talks about taking a pill and slipping into a dream. There is this sense of nostalgia and slipping back as she returns to the age of seventeen and a time, one suspects, where music was making a big impression on her. There are some cool beats and electronic funk whereas we get some Maluma injections in the background. His presence is quite low and anonymous at the very start as Madonna talks about her dreams and experiences – one could not have a first single from this album and feature too much of a collaborator at the top! That distinct Madonna vocal sound rides the wave as she takes sips and dreams. One gets the sense of this heroine sleeping in the sun and returning to a younger time. Maybe there is naivety but it is interesting hearing Madonna look back on a song that is very modern and unlike what she has done before. In terms of sounds, there is a Latin flavour that runs throughout. This is not new to her. Songs like La Isla Bonita (True Blue, 1986) show Madonna has an affinity for Latin sounds but here we get a fusion with something jagged and harder-hitting. The song is quite romantic but a more modern version of a track such as La Isla Bonita. Maluma comes in with Spanish verse and you will need to put the lyrics through Google to understand what he is singing about. Madonna responds to the alluring call of Maluma with the declaration that she will be so good for him.

You cannot help but escape the catchiness and sense of dance that defines the song. Medellin is a twisting, groovy song that has a definite swivel and fun to it. Madonna sips her pain “like a Champagne” and feels naked; alive and vulnerable without having to have to hide herself. Maybe the Spanish lyrics are a bit hard to get behind and there is this clash between the familiar words and a feeling rather than clarity. One can appreciate Maluma in terms of sound but, as many will not know what he is singing, it means you might have to pause the song and translate the words. In many ways, it means Madonna can make the biggest stamp and can resonate harder. It is nice to hear the two artists spar and unite as they have a very different sound. We get a bit of processed vocals and machines stepping in but they are more for effect than to disguise a lack of strength. The chorus for Medellin has a big heart and pump and the song itself never loses its fire and sassiness! Madonna sort of returns to her earliest days when she was putting out Pop belters. One can also look at albums like True Blue and Ray of Light in terms of the energy and quality being put forward. Some of the lyrics do sort of slip by – and there is a time when she talks about love being like a cartel that does seem a bit of a poor choice – but most of the words strike and provide clear and alluring images. Medellin will definitely strike those who like their Pop with a twist but it is the fusion of genres that gets to me. Madonna takes a trip with her lover and the two unite and sway with one another. Beats crackle and the sunshine breeze gives the track a real heat and intensity. You need a few spins to get to the heart of the song but it definitely puts you in a better mood! It is hard to escape the passion and power. Madonna, I feel, stands out and gives the biggest performance but Maluma adds an exoticness and vocal that is less crowbarred and more essential – the two are on the same page and it will be great seeing what Maluma brings to another Madame X song, Bitch I’m Loca. It has been a few years since we have heard Madonna music but the wait has been worth it. There are some slightly weak aspects of Medellin – some of the lyrics are saccharine and trite; more natural instrumentation and strings rather than electronics could have created a better song – but this is a strong and compelling song above everything. It is good to Madonna back!

Madame X will be out on 14th June and it is the fourteenth studio album from Madonna. There have been a lot of photos, teases and posts to suggest what we might get from the album. There has not been an official video for Medellin yet so that will be interesting to see what comes about. Madonna posted the tracklist for the album and there are some great titles to be found – Batuka and Bitch I’m Loca among them! I am sure there will be other singles before the album is released and it will be cool to see the various visuals and characters Madonna plays. I am not sure when Madonna will tour but, in terms of images and sets, one feels like a Madame X tour could rival some of her best work. Think of all the different sets and visuals she will create and what could come about! There are no firm plans at the moment but, when the album is out, I am sure there will be dates announced. It is a great time for Madonna and I cannot wait to see where she heads from here. I understand she is moving from Portugal (where she lives) to New York and she has recently been in London talking about Madame X. I have talked about reinvention and ageism and how it relates to Madonna. It is sad that many stations and outlets will overlook Madame X because of Madonna’s age rather than the quality of the music. Madonna does not need to worry as the album will get a lot of great reviews and many will want to see her hit the road. There is nobody out there who keeps changing shapes and moving like Madonna! She has been at the forefront of music since the early days of her career and many are calling Medellin a return to form. Albums such as MDNA (2012) and Rebel Heart (2015) got some good reviews but nothing quite like Confessions on a Dance Floor (2005). It appears there is a new lease back in Madonna’s music and, even though she has created this new heroine, Madame X will be personal and revealing. There is a lot to look forward to and recommend so, when the album is released, make sure you get a copy and see Madonna in…

#MadameX ❌ @maluma ❌ #Medellin ❌ 4/24 at 4pm ET on @MTV #MADONNAxMTV pic.twitter.com/bJuFVVTaMo

— Madonna (@Madonna) April 18, 2019

A new light.

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Follow Madonna

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Facebook:

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INTERVIEW: Mako

INTERVIEW:

Mako

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ON this Good Friday...

I get to present Mako, who has been telling me about his new track, Coyote, and how it came together; a few albums that mean a lot to him and how the music of Mako has changed since they were a duo to now – where Alex is a solo artist.

I ask about Mako’s talents and endeavours in T.V. and film; how he manages to unwind away from music and whether there are going to be tour dates – he ends the interview with a great song selection.

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

I’m good (smiles). I just moved into a new apartment, got on a dating app for the first time; released some new music.

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

Yeah, definitely. I’m sure I’ll butcher this, but picture a Classical French horn player who got distracted by EDM and Pop music for a few years and listens to a lot of Indie Rock.

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

I was honestly super-burned-out, creatively…

I asked my team for a couple months off just to write purely for love (sadly, it’s not always the case) - and I started thinking about what I really have to bring to the table as an artist. I got on this kick…of ‘What would happen if you crammed your entire life of music into a record?’. Not only was Coyote born soon after, but my entire album materialized right in front of me. I haven’t been this purely happy and focused with my work in years.

Is there going to be an E.P. or album coming later in the year?

Yep (smiles).

I know Mako started life as a duo before just you, Alex. How has the music changed since inception?

The music has changed drastically, but the creative experience has always been the same. Even as a duo, I was always behind the wheel with our material - and my good buddy Logan would pilot our D.J. sets and help navigate the corridors of business for us. My taste in music has shifted so much since then - taking a tour through our discography will reveal it pretty clearly.

Were there particular artists that inspired you to get into music?

I was a diehard Gustav Mahler kid growing up (play along with the recordings to his symphonies in my garage all through high-school, meanwhile speaking with zero girls the entire time). I was caught up in the EDM craze out of college - and now I’ve settled into a strong IDM kick with artists like Moderat, Jon Hopkins; Atoms for Peace/Radiohead and a lot of the cinematic composer/artists like Ólafur Arnolds and Max Richter.

It seems your musical talent extends to T.V. and film. How important and informative is it working across various mediums?

It’s a huge enjoyment for me; the role of music in those mediums shifts dramatically. Everything is generally in service to a larger idea; the scope of collaboration can be immense and a successful day’s work can mean your music won’t be noticed (by design). It brings me a lot of happiness to glide between those projects and the egomania that is a pure artist project.

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

A billion-percent emotional release. I, very sadly, don’t find myself connecting often with lyrics in any form. I don’t use music as a way to feel connected with pop culture. It’s just pure emotion for me.

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

So, so many. Recently, working with League of Legends the past two years on their ‘Worlds’ events has been an all-time life highlight for me.

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

In Rainbows (Radiohead) through-and-through is my favorite artist album: it’s got everything I like about music. Interestingly, John Powell’s score to How to Train Your Dragon is the album that convinced me to quit the French horn and pursue a career in writing music. And I was heavily affected this year by Jon Hopkins’ Singularity - both in its contents and how captivatingly unique a piece of art can be, led by one singular voice.

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

Haha, wait. So, a rider…as in like a hospitality rider? I’m gonna give this one to my good mate Charles Yang - one disgustingly talented violin/guitar/singer. He gets infinite gin and tonics in his rider because he just bought me a few and I owe him.

What are your plans regarding gigs/touring?

A tour after this new album (smiles).

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

Make a ton, ton, ton of music - it’ll get better, I promise. I’d also recommend finding a unique voice but sometimes I get a little pessimistic about that and I’m adventuring for the first time on this bullet - so check back with me in two years if I’m happy about this decision.

 IN THIS PHOTO: Josin

Are there any new artists you recommend we check out?

I stumbled upon this hauntingly lovely artist called Josin.

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

I’m really super-sh*tty at this. Partial evidence of this is that I’m just typing right now as a means of buying time to think about a decent answer. I run late at night, which is a biggie for me. I can dig myself into some strange pockets of extreme isolation. I do wonder if this is just the reality for people who looove what they do. Balance is important.

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).

You asked...play Romantic Flight from How to Train Your Dragon

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Follow Mako

Official:

https://www.wearemako.com/

Twitter:

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Facebook:

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INTERVIEW: Hailey Knox

INTERVIEW:

PHOTO CREDIT: Shervin Lainez

Hailey Knox

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TAKING us towards the long Easter weekend...

 PHOTO CREDIT: Shervin Lainez

is Hailey Knox, who has been discussing her Hardwired Mixtape and what inspired it; whether there are going to be gigs very soon and some of the albums that have made an impact on her – she chooses some approaching artists that are worth investigation.

I ask Knox what music she grew up around and how important touring is; which artist she’d support if she could and what the rest of 2019 holds – Knox selects a great modern track to bring the interview down to a close.

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

Hello! I’m good! I've been working on new music this past week and hanging with family. I’m very excited to release new stuff and get new music out very soon.

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

I’m Hailey Knox! I’ve been singing since I was really young and playing guitar since I was seven. I’ve spent the last few years touring and creating music! My last tour was my first headlining tour which was a really interesting experience. I just released my mixtape, the Hardwired Mixtape, which has songs from a lot of different times in my life. I’m going on tour this summer supporting Bailen on the West Coast which I’m very excited about!

The Hardwired Mixtape is out now. What sort of experiences and stories inspired the music on the collection?

I talk a lot about life as a touring musician, missing home; self-doubt and relationships. A lot of the lyrics talk about emotions that I don’t show.

Is there going to be more material coming later in the year do you reckon?

Yes! I have a lot of songs I’m working on. New music real soon! 

How has 2019 been for you so far? Has it started pretty hectically?

2019 has been awesome! I had my song, Hardwired, on Grey's Anatomy, which was very cool! It was the first time I had a song on T.V. I am working on new music that I’m very excited about and I went on my first headlining tour!

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

So many. I grew up loving Miley Cyrus, Justin Bieber; Ingrid Michaelson, Tyler, the Creator and a lot of different artists and genres. My first concert was Hilary Duff!

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

All of my touring experiences have been very cool and different. I feel like I learn something new with every tour and the people I work with. Seeing people online cover my songs always makes my day. It’s so cool that people connect with my lyrics and sing/ create their own versions. 

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

I really love DAMN. by Kendrick Lamar. I think the production is unreal and the tone of his voice - and melody/flow in every song is amazing. I am also really into Billie Eilish’s album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? I love the harmonies on all of the songs and the sounds in the production that Finneas uses are so great. I love how she ties in all of the songs at the end. Jon Bellion's album, The Human Condition, is another favorite of mine. He also incorporates all of the songs into one song at the end which I love. His lyrics and melodies really pull you in. 80’s Films and Guillotine are some of my favorites.

 PHOTO CREDIT: Shervin Lainez

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

I would love to support Billie Eilish! On my rider, I would put grilled chicken, sea salt and vinegar chips and tea!

What does the rest of this year hold for you?

Releasing new music, writing more music and heading out on tour during summer!

Are you planning any gigs in the coming months?

I am going on tour during June! I’ll be supporting Bailen on the West Coast. I’m very excited!

 PHOTO CREDIT: Shervin Lainez

Might you come to the U.K. and play for us here? 

I would love to! I have never been but would love to travel there. 

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

I really love both. I love creating in the studio and just jamming, coming up with new ideas. However, playing live is also really cool. I get to meet the people who listen and relate to my lyrics. A lot of my songs are emotional and the lyrics are very personal so if you come to my show. I hope you feel that. 

 IN THIS PHOTO: Tierra Whack/PHOTO CREDIT: Notion

Are there any new artists you recommend we check out? 

I love Tierra Whack, Jack Harlow and Atticus Thatcher!

 IN THIS PHOTO: Jack Harlow

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

I feel like I’m always creating wherever I am. I think my way of unwinding is other forms of art. I love drawing, watching movies and exploring.

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).

ilomilo by Billie Eilish is one of my favorite songs right now. The melodies, lyrics and production are all so interesting. She’s the coolest

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Follow Hailey Knox

Official:

http://haileyknoxmusic.com/

Twitter:

https://twitter.com/haileyknoxmusic

Facebook:

https://www.facebook.com/haileyknoxmusic/

Spotify:

https://open.spotify.com/artist/6PgkNi6EyAfgiKtFwAwvbH?si=-vWP-fhxQg2A7DQs4Ha3tg

YouTube:

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

Instagram:

https://www.instagram.com/haileyknoxmusic/

INTERVIEW: Phildel

INTERVIEW:

Phildel

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TAKING us into the middle of the week...

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…

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. 

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. 

 IN THIS PHOTO: Richard Fairlie

Are there any new artists you recommend we check out?

Richard Fairlie, Cub Sport. 

 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

___________

Follow Phildel

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INTERVIEW: CHARLOTTE

INTERVIEW:

CHARLOTTE

___________

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.

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.

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.

 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.

 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

___________

Follow CHARLOTTE

Official:

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INTERVIEW: Bailey Tomkinson

INTERVIEW:

Bailey Tomkinson

___________

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.

____________

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.

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!

___________

Follow Bailey Tomkinson

PHOTO CREDIT: Megan Hemsworth Photography

Official:

https://www.baileytomkinson.com/

Twitter:

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Facebook:

https://www.facebook.com/Baileytomkinson13/

Spotify:

https://open.spotify.com/artist/3SIJnnckGx5KwXlmFGfKSI?si=mHiv3Ha-S2qkeyXY9-r3Gg

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FEATURE: Vinyl Corner: Crowded House - Woodface

FEATURE:

 

 

Vinyl Corner

IMAGE CREDIT: Spotify 

Crowded House - Woodface

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I promise there will be albums from women...

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.

  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.

Tune into @RealKenBruce's show on @BBCRadio2 from 9.30 this morning to hear our piano room! pic.twitter.com/rDVMwNQeX4

— Ward Thomas (@wardthomasmusic) February 6, 2019

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!

My view this morning. Aw God there’s two of them! ⁦@richie_anderson⁩ ⁦@BBCRadio2⁩ pic.twitter.com/vPp5gzLVHT

— Ken Bruce (@RealKenBruce) April 8, 2019

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…

PHOTO CREDIT: BBC

AS Ken Bruce.

INTERVIEW: Izzie Derry

INTERVIEW:

Izzie Derry

___________

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.

____________

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.

 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?

___________

Follow Izzie Derry

Twitter:

https://twitter.com/izzie_derry

Facebook:

https://www.facebook.com/izziederrymusic/

Spotify:

https://open.spotify.com/artist/4qGXmgbaSifGyulJlh5Tw2?si=-u8zs70sQsSBWCo3oDPA7g

YouTube:

https://www.youtube.com/channel/UChp-4JbWTtlGNNJyhcKd8_w

TRACK REVIEW: Andy Jordan - Gin & Jazz

TRACK REVIEW:

 

Andy Jordan

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

__________

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.

 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.

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

Twitter:

https://twitter.com/AndyJordan01

Facebook:

https://www.facebook.com/iamAndyJordan/

Spotify:

https://open.spotify.com/artist/2vRJ5UH6nfm83H1stvQbCj?si=YIvDFUK-Q72jNITwa2Wxiw

Instagram:

https://www.instagram.com/andyjordanpics/

YouTube:

https://www.youtube.com/user/01AndyJordan

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

FEATURE:

 

 

“Slicing Up Eyeballs/Ha, Ha, Ha, Ho”

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!

 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”.

 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…

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.”

When people ask me If I had a good day today................#needsomedaysoff pic.twitter.com/tkafHVApXF

— Madonna (@Madonna) March 29, 2019

"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”.

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?!

 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…

 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”.

Huge thanks to the extremely talented Liz Wakefield for this stunning Resident hat to celebrate our favourite day of the year!

We’ll be parading this along the queue and around the shop throughout the day...don’t be shy to try it on and grab a photo!#RSD19 #RSDResident pic.twitter.com/EwXkUtZyvr

— resident (@residentmusic) April 13, 2019

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.

 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.

 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.