FEATURE: Sonic Proof: Volume IV: Sunday, Sunday: Fantastic Artists to Watch

FEATURE:

 

 

Sonic Proof: Volume IV

IN THIS PHOTO: Pillow Queens/PHOTO CREDIT: @PillowQueeens

Sunday, Sunday: Fantastic Artists to Watch

__________

JUST before returning to work...

 IN THIS PHOTO: Pottery/PHOTO CREDIT: Luke Orlando

for another week, there is still time to get some music in the bones and make the most of the time we have! I have been looking around at the very best and brightest new artists around and put them into another edition of Sonic Proof. There is no telling just who will come through the ranks and strike but it is very clear that, in this playlist, there is some serious clout and quality! From recent participants at The Great Escape down in Brighton through to others emerging in different parts of the world, I am excited and know what is out there. It is hard to get on top of all of it but I shall do my best to get as many playlists up as I can. I will do another instalment next weekend and keep my eyes out but now, just as we are thinking of the new working week, here is a selection of top-notch artists that will get you in a better mood and make the last hours of your Sunday…

 IN THIS PHOTO: SASAMI/PHOTO CREDIT: Alex Baxley

PRETTY awesome.

FEATURE: Female Icons: Part Two: Mavis Staples

FEATURE:

 

 

Female Icons

PHOTO CREDIT: Getty Images 

Part Two: Mavis Staples

__________

I started this series by talking about...

 IN THIS PHOTO: The Staples/Staple Singers (left-right: Cleotha, Pops; Mavis and Yvonne)/PHOTO CREDIT: Getty Images

Kate Bush and, whereas I was going to move onto either Madonna, Joni Mitchell or Beyoncé – they will appear in future editions –, I felt it only right to talk about Mavis Staples. I was listening to Mark Radcliffe and Stuart Maconie’s breakfast show on BBC Radio 6 Music today and they had a featured where Mavis Staples picked some records that are important to her. Not only did her selection include some interesting artists but her storytelling was incredible. In a way, the music was a backdrop to the recollections and her personal stories. We learned that Bob Dylan proposed to her the day he met her. Dylan has known about The Staple Singers and always idolised Mavis. He was in love with her voice and, without the need to form a friendship, it seemed like the two were meant to be. Of course, Staples felt differently and knew that it was a bit mad to accept a proposal from Dylan. On this morning’s show, Staples picked Dylan’s Lay, Lady, Lay after telling that story – one can hear elements of Dylan’s yearning for Staples in that song and, just like that, this classic song took on a new life. Staples also discussed her church past and the fact that she was raised away from secular music. The only way she would ever get to hear traditional music was at school or when around friends. She got to know R&B and Soul singers when she was young but, with regards the power in her voice, one has to draw a line to the church.

This is how icons like Aretha Franklin managed to blow people away: she was raised at church and got to sing/witness incredibly moving songs in a very evocative environment. Mavis Staples, compared to some other Soul legends, is a little more rounded and flexible with her voice. She has featured on songs from the likes of Arcade Fire and Hozier and there seems to be no limits to her reach and talent. She can lend her voice to a mainstream artist or a Rock band but also sounds effortless when she ventures into genres such as Soul, Gospel and R&B. I will go back to the start in a second but, when hearing Staples this morning discussing Hozier – an artist she has fairly recently discovered and loves – she was amazed by his voice and really wanted to sing with him. He heard about this and extended an invitation for her to join him on the song, Nina Cried Power – from the new album, Wasteland, Baby! It is humble of Staples to be blown away by the offer seeing as you’d expect things to be the other way around. This is a reason why Staples is so revered and regarded (rightly) as an icon. She has no ego and always seems moved that others would want to work with her. The Staples Singers released their first album, Uncloudy Day, back in 1959 through Vee Jay.

Consisting of Cleotha (who died in 2013), Pervis; Mavis and Yvonne (who died in 2018) – who replaced her brother when he was drafted into the U.S. army –, the group were known for huge hits such as Respect Yourself, I’ll Take You There and Let’s Do It Again. Although success would come for the group before too long, their earliest days were spent performing in churches in the Chicago area. They signed a professional contract by 1952 and, before long, their reputation spread. It is said that early albums such as Uncloudy Day influenced Bob Dylan – he had his eye on Mavis Staples pretty early! – and it was clear that The Staple Singers had something nobody else did. Like all great female/mixed-genre groups of the time, there is always that standout voice. Diana Ross outshone The Supremes whereas Beyoncé always stood aside from Destiny’s Child. Perhaps with less force and ambition than those woman, Mavis Staples’ incredible voice and passion meant that people (not just Bob Dylan) were taking notice! You only need to listen to their recordings to realise that, right from the earliest days, Staples had been touched by something primal and spiritual. Maybe it was her childhood experiences at church that gave her voice an extra depth and level but, even with The Staple Singers, their young star was recording in church – the line in-church album, Freedom Highway, is one of their most memorable early albums.

If The Staple Singers moved more into a Soul and Funk direction by the late-1960s, the earliest recordings combined Gospel and R&B. The Staples Singers is only one part of Mavis Staples’ legacy and brilliance. The incredible singer was inducted into the Rock and Roll Hall of Fame in 1999 and Blues Hall of Fame in 2017. The Staples Singers delivered messages supporting civil rights back in the 1960s and were a hugely important force in music. Even back then, one could tell Mavis Staples had this influence and need to see change. It is impossible to gauge the importance of Staples as a solo artist and as part of The Staple Singers. The first real step into solo territory came after The Staple Singers’ legacy became a little dimmed. By 1969, she released an eponymous solo album and one could feel that going solo was a natural and needed transition. From the late-1960s through to the 1990s, Staples’ music moved in different directions and, whilst there was not always 100% critical backing, there was huge public backing. In 2004, Staples contributed to a Verve album by the Jazz guitarist, John Scofield. A tribute to Ray Charles, That’s What I Say, was very well-received and allowed Staples, again, to step into new sonic territory. There were not hugely radical steps into genres but the flexibility and curiosity of Staples was amazing.

 IN THIS PHOTO: Mavis Staples in the mid-1970s/PHOTO CREDIT: Marc PoKempner/Courtesy of HBO

I will finish by looking at Staples’ upcoming solo album but, when you think about all the artists who count the legend as a driving force, it is amazing! Everyone from Ice Cube, Bob Dylan; Salt-N-Pepa and Prince have either sampled Staples or been inspired by her music. That is a pretty impressive claim but, even now, there are artists who try to channel Staples and distil her essence. We lost Aretha Franklin fairly recently and there are not that many Soul/Gospel powerhouses left in the world – perhaps Staples is the last remaining legend in that sense. One might argue that Staples is not on the same level as, say, Aretha Franklin or Madonna, when it comes to breaking barriers and influencing the generations. I feel this is wrong and you need only hear her sing and listen to her talk to realise that she is a true icon. One can debate what makes an icon and keeps them in the public eye. I think it is humility and that lack of real ego that makes someone last; an understanding that the people want to relate to an artist and be moved by their music. If there was all this fantasy and lie then you would not be able to have the same connection as you do to Mavis Staples. Her music is raw and real; she sings from the heart and you believe every word she says.

In this interview with The Guardian, Staples talked about her love of David Bowie and Pharrell Williams’ Happy – the reporter, Jude Rogers, talked about the humble start of Staples and how that common touch remains to this day (2016 in this case):

“Humility runs like a thread through Staples’ career. She was born in Chicago in 1939; her father, Roebuck, known as Pops, grew up on a Mississippi plantation, learning guitar from delta blues legend Charley Patton, before forming the family band. Mavis was called Bubbles by her mum on account of her cheeriness, a fact one of her new collaborators, New Orleans singer-songwriter Benjamin Booker, has snuck on to her new album’s opening track, Take Us Back (“They don’t call me Bubbles for nothing,” Mavis rasps, brilliantly). By 13, Mavis was out on the road, getting extra homework for missing school on Mondays (she’d be singing at churches on Sundays). It was wonderful, she insists. “It wasn’t like the Jackson 5 and poor Michael – I didn’t miss my youth. We’d rehearse at home and then I’d go out to jump rope if it was summertime. I didn’t miss my prom neither!”

Staples has never got big for her boots. She still goes to the grocery store, she says. “I go to the cleaners, I go down in the basement to wash my clothes. I don’t have anyone running around for me like some of my girlfriends, Gladys Knight or Aretha – I’ve always done for myself. I feel if you don’t go out there, if you don’t mingle among the people, how are you going to know what they need to know, and hear what they need to hear? That’s the good part. That’s the best part. Just treat everyone right”.

This lack of pretence and surprise at recognition is what makes Staples so appealing. There is a whole group of young artists who want to collaborate with Staples and have that incredible voice in the mix. In this recent Billboard interview, Staples talked about her work regarding the civil rights movement and asked about the artists she is excited about right now.

“I like these kids today. Maggie Rogers, I love her. Brandi Carlile, she’s great. I’m proud of the young people today with the songs they’re singing… Youngsters are just falling in, singing positive messages in their songs. I appreciate that. I love Pharrell. When he came with his song, “Happy,” I said, Lord, why couldn’t I get that song?! I couldn’t get enough of it. It kept me smiling.

When Hozier came with “Nina Cried Power,” I just collapsed. He wanted me to sing it with him. I said, “Oh my God!” Nina Simone was a good friend of mine, and then all of the other artists that we’re calling out in that song are artists who have made commitments to the world through their message songs. I just had all kind of jittery feelings. He’s so handsome! I said, “Don’t look at me, Hozier! You’re making me blush!” [Laughs.] I had to tell him, “Andrew, that name doesn’t quite fit him for me,” so I said, “I’m gonna call you Hozier.” He said, “You can call me whatever you want, Mavis”.

It seems a shame that Mavis Staples fought hard with people like Dr. Martin Luther King Jr. to see change in America and ensure there were civil rights. Whilst progress was made and there were steps, it appears America is back in a pretty bleak place. When interviewed by Rolling Stone earlier this year, Staples was asked about President Donald Trump and her feelings regarding his leadership:

“We’ve done better, but we left a lot by the wayside, and those are the ones who voted for Mr. Trump. Things are better as far as us being able to go into bathrooms in the South, to go into the restaurants in the South, and to stay in hotels, but you never know who’s lurking on the sidelines waiting to knock you down again”.

Let’s say that President Trump was willing to speak with you for a few minutes, what would you say to him?

My heart really goes out to him because he’s really in trouble. And he’s a troubled soul. I thought I wanted to pray for him, but then I don’t. Every time I say, “What is wrong with this man? God help him,” he’ll do something else. And he takes me backwards, so I just don’t know what to do about him. If I had to talk to him, if he wanted to talk to me, I would look him straight in the eye. I think he would see what I’m feeling from the way that I would look at him, and he might say, “Oh, this is a different one here. I’ve got to straighten up and fly right”.

On 10th July, Mavis Staples turns eighty and it will be cause for celebration. When asked in interviews how she is celebrating the big day, she said (or joked) that she will go skydiving or skateboarding. It seems like the energy and youthful spirit is still there and there are no signs Staples will slow down. Let’s hope there are many more years of Mavis Staples’ music because it seems like the icon is entering a new phase. She has performed with modern artists like Hozier but her upcoming album, We Get By, is out on 24th May and will be interesting to hear. The singles, Change and Anytime, have already been released and they go to show that Staples still has immense power and the ability to captivate. Her album has been written by Ben Harper and, whilst the lyrics are striking and memorable, it is Staples command and voice that elicits the biggest response. It sounds even more electric and physical at this stage in life than it did when she started out with The Staple Singers. Staples is still fighting for change and equal rights and she is giving plenty of fight. Her music is incredible after all these years and there is a slew of young artists who are taking guidance from Mavis Staples. In future editions of this feature, I am looking at Madonna, Joni Mitchell and Beyoncé: a trio of artists with different styles of music but all incredibly important and timeless. I would rank Mavis Staples alongside them because of all she has achieved and how she has been providing a huge voice to music since the 1950s. It is no surprise Bob Dylan fell for Staples at a young age and proposed – she has that sort of affect where you want to be around her and hear her talk for hours! Let’s hope Dylan has recovered from his broken heart but we know he, and the rest of the world, listens to Mavis Staples’ incredible music and…

 ILLUSTRATION CREDIT: Stavros Damos

THE knees buckle.

FEATURE: The One-Album Wonder: Artists Who Released Just the One Genius Record

FEATURE:

 

 

The One-Album Wonder

IN THIS PHOTO: Lauryn Hill/PHOTO CREDIT: Anthony Barboza/Getty Images  

Artists Who Released Just the One Genius Record

__________

LATER on today...

 IN THIS PHOTO: The Postal Service/PHOTO CREDIT: Getty Images

I will be looking at a very special female icon and I want to concentrate on a few other topics. At the moment, I have been thinking of those artists who only managed to release one truly great album. Maybe the fact they only released one album at all was because of tragedy or a short career. Other acts have released a lot of albums and maybe they only struck gold that one time. There are a number of reasons why we sometimes get that brief flash of brilliance but, rather than wonder what happened and look for answers, we need to enjoy that album and cherish it. I have been thinking about the artists that put out that very special album that captures the mindset and, even if they did not reach those heights again, we were given this glorious, single offering. There might be others I have forgotten but, if I have, let me know. Here, then, are ten artists that brought the world a truly sensational album but were not able to…

 IN THIS PHOTO: Jeff Buckley/PHOTO CREDIT: Getty Images

MATCH those heights again.

ALL ALBUM COVERS: Getty Images

_______________

The La’s – The La’s

Release Date: 1st October, 1990

Labels: Polydor/Go/London

Producers: Steve Lillywhite/Bob Andrews

Standout Tracks: Son of a Gun/Timeless Melody/Way Out

Total Number of Studio Albums: One

Review:

“But where so many guitar pop bands seem inhibited by tradition, the La's were liberated by it, using basic elements to construct their own identity, one that's propulsive and tuneful, or sweetly seductive, as it is on the band's best-known song, "There She Goes." That song is indicative of the La's material in its melodic pull; the rest of the album has a bit more muscle, whether the group is bashing out a modern-day Merseybeat on "Liberty Ship" and bouncing two-step "Doledrum," or alluding to Morrissey's elliptical phrasing on "Timeless Melody." This force gives the La's some distinction, separating them from nostalgic revivalists even as their dedication to unadorned acoustic arrangements separates them from their contemporaries, but it's this wildly willful sensibility -- so respectful of the past it can't imagine not following its own path -- that turns The La's into its own unique entity, indebted to the past and pointing toward the future, yet not belonging to either” – AllMusic

Key Cut: There She Goes

Jeff Buckley – Grace

Release Date: 23rd August, 1994

Label: Columbia

Producers: Andy Wallace/Jeff Buckley

Standout Tracks: Grace/Last Goodbye/Lover, You Should’ve Come Over

Total Number of Studio Albums: One

Review:

“After burnishing his vocal delivery to a haunting glow by playing on Manhattan’s Lower East Side punk-folk scene, this son of folksinger Tim Buckley now outstrips dad with a dreamy and stunningly original set of songs. Buckley’s voice falls smack between Freddie Mercury and Art Garfunkel, sounding like an angel and devil wrapped in one. Too good to be true” – Entertainment Weekly

Key Cut: Hallelujah

Lauryn Hill – The Miseducation of Lauryn Hill

Release Date: 25th August, 1998

Labels: Ruffhouse/Columbia

Producers: Lauryn Hill/Che Guevara/Vada Nobles

Standout Tracks: Lost Ones/Ex-Factor/Everything Is Everything

Total Number of Studio Albums: One

Review:

“Ms. Hill didn’t just gain inspiration from this philosophy; she quite literally inherited it. Half of Miseducation was recorded in Jamaica at Marley’s own Tuff Gong Studios. The baby she carried was conceived with Rohan Marley, son of Bob. From this regal lineage, Miseducation strikes out with the lionhearted courage of a crusader. But it can’t stay there. Metaphors of God soldiers and Lions of Judah are good as far as they go, but they don’t go far enough. The problem is that such a worldview is fundamentally male, which is to say more ubiquitous than correct. Lauryn Hill was tasked with something more difficult than that: to walk a series of intertwined tightropes specific to young black women. To be vulnerable, but fearless. To tell the truth, but look beautiful in doing so” – Pitchfork

Key Cut: Doo Wop (That Thing)

Amy Winehouse – Back to Black

Release Date: 27th October, 2006

Label: Island

Producers: Mark Ronson/Salaam Remi

Standout Tracks: Rehab/Love Is a Losing Game/Tears Dry on Their Own

Total Number of Studio Albums: Two

Review:

“Starting with the pungent single Rehab, everything is in its right place: the exuberant neo-Motown swing supplied by producers Mark Ronson and Salaam Remi; the rich, sinewy vocals, somewhere between Lauryn Hill, Beth Gibbons and Etta James; and the thoroughly modern songwriting, in which infidelity is betrayed by a telltale carpet burn (You Know I'm No Good) and a lover is less desirable than a good supply of weed (Addicted). On the latter song she triumphantly declares: "I'm my own man." Only a fool would argue” – The Guardian  

Key Cut: Back to Black

The Postal Service – Give Up

Release Date: 19th February, 2003

Label: Sub Pop

Producers: The Postal Service

Standout Tracks: The District Sleeps Alone Tonight/Recycled Air/We Will Become Silhouettes

Total Number of Studio Albums: One

Review:

“Songs like "Nothing Better," a duet that plays like an update on Human League's "Don't You Want Me?," and the video-game brightness of "Brand New Colony" sound overtly like the '80s brought into the present, but the tinny, preset synth and drum sounds on the entire album recall that decade. Sometimes, as on "Recycled Air" and "We Will Become Silhouettes," the retro sounds become distracting, but for the most part they add to the album's playful charm. The spooky ballad "This Place Is a Prison" is perhaps the most modern-sounding track and the closest in sound and spirit to Gibbard and Tamborello's Dntel work. The crunchy, distorted beats and sparkling synths recall both This Is the Dream of Evan and Chan and Björk's recent work; indeed, this song, along with the "All Is Full of Love" cover Death Cab included on their Stability EP, could be seen as an ongoing tribute to her. Overall, Give Up is a fun diversion for Tamborello, Gibbard, and their fans. It doesn't scale the heights of either of their main projects, but it's far more consistent and enjoyable than might be expected” – AllMusic

Key Cut: Such Great Heights

Sex Pistols – Never Mind the Bollocks, Here’s the Sex Pistols

Release Date: 28th October, 1977

Label: Virgin

Producers: Chris Thomas/Bill Prince

Standout Tracks: God Save the Queen/Bodies/Pretty Vacant

Total Number of Studio Albums: One

Review:

“Never Mind the Bollocks perfectly articulated the frustration, rage, and dissatisfaction of the British working class with the establishment, a spirit quick to translate itself to strictly rock & roll terms. The Pistols paved the way for countless other bands to make similarly rebellious statements, but arguably none were as daring or effective. It's easy to see how the band's roaring energy, overwhelmingly snotty attitude, and Rotten's furious ranting sparked a musical revolution, and those qualities haven't diminished one bit over time. Never Mind the Bollocks is simply one of the greatest, most inspiring rock records of all time” – AllMusic

Key Cut: Anarchy in the U.K.

Derek and the Dominos – Layla and Other Assorted Love Songs

Release Date: 6th November, 1970

Labels: Polydor/Atco

Producers: Tom Dowd/Derek and the Dominos

Standout Tracks: Bell Bottom Blues/Key to the Highway/Tell the Truth

Total Number of Studio Albums: One

Review:

“"Layla" is a very unique piece of music because of its rather contrasting movements. It begins as an eruptive, guitar-driven song, but as it progresses it transcends into a delicate piano ballad. Eric Clapton's performance in this song is among one of his best. The guitar solos are fiery and aggressive, expressing all of the intensity and frustration that seems to posses our emotions when we're in love. The latter half of the song is just as mesmerizing, providing a sensitive yet affectionate sound induced by the coalescence of Duane Allman's soothing slide guitar and Bobby Whitlock's sentimental piano arrangements. Layla and Other Assorted Love Songs is often recognized as one of the definitive releases in classic rock, and it is certainly one of Eric Clapton's finest efforts. The bluesy sound that coats the music of the album will be sure to prove itself as a captivating listen to the very end” – SputnikMusic   

Key Cut: Layla

Minor Threat – Out of Step

Release Date: April 1983

Label: Dischord

Producers: Don Zientara/Minor Threat

Standout Tracks: Think Again/No Reason/Out of Step

Total Number of Studio Albums: One

Review:

“Lyle Preslar and Brian Baker both have at the guitar this time through and do the instrument proud, creating memorable, snarling riffs that rip out of the speakers without apology. Jeff Nelson's drumming is equally powerful, but Ian MacKaye's outraged performance provides the real killer touch. Even if it requires the lyric sheet to catch what's being said in particular, there's less in the way of declarative statements of purpose and more expressions of looming worries, his conversational asides adding a touch of melancholy even at the most high-volume moments. Besides a re-recording of "Out of Step" from the In My Eyes EP, other high points include "Look Back and Laugh," an uneasy but ever-more-tightly wound confrontation with the reality of growing apart being entangled with growing up, and the powerful "Think Again." There's a secret highlight, though -- "Cashing In," appearing unlisted at the end and showing that MacKaye and company had a definite sense of humor, pokes fun at their own glowering image even while rocking out with aplomb (and including, of all things, a concluding burst of strings)” – AllMusic

Key Cut: Betray

Buena Vista Social Club – Buena Vista Social Club

Release Date: 16th September, 1997

Labels: World Circuit/Nonesuch

Producer: Ry Cooder

Standout Tracks: Pueblo Nuevo/Candela/Buena Vista Social Club

Total Number of Studio Albums: One

Review:

“The impromptu band Buena Vista Social Club was assembled by legendary guitarist Ry Cooder during a trip to Havana. Cooder gathered some of Cuba’s most exquisite players, including 89-year-old guitarist Compay Segundo and pianist Ruben Gonzalez, and recorded in a wide range of styles, both modern and traditional, in Buena Vista Social Club. The rhythms vary, but the sound is gentle yet flamboyant throughout. It brims with warmth” – Entertainment Weekly

Key Cut: Chan Chan

The Modern Lovers – The Modern Lovers

Release Date: August 1976

Label: Beserkley

Producers: Robert Appere/John Cale/Allan Mason

Standout Tracks: Pablo Picasso/Hospital/Modern World

Total Number of Studio Albums: Two

Review:

“What reads as contradiction is simply one effect of Richman's irresistible inclusiveness. It's what sets him apart from the Velvets, the Ramones, the Stooges and the like-- acts attracted to themes that matched their ragged sounds. Richman's music is tough, but he is not. He loves the old world, he loves the modern world. He loves rock'n'roll, he loves girls, he loves America, and most importantly, he loves you. Leave the anomie of "1969", the sleaze of "Waiting for the Man", or the mean streets of "53rd & 3rd" to the tough guys. Richman wants to rock you just like all the others, but he also wants to give you a big hug when he's done” – Pitchfork

Key Cut: Roadrunner

TRACK REVIEW: Jamila Woods - ZORA

TRACK REVIEW:

 

Jamila Woods

PHOTO CREDIT: Bradley Murray 

ZORA

9.7/10

The track, ZORA, is available via:

https://www.youtube.com/watch?v=NO0_3XwBb5s

GENRES:

R&B/Neo-Soul

ORIGIN:

Chicago, U.S.A.

The album, LEGACY! LEGACY! Is available via:

https://open.spotify.com/album/5NzK7S7oQQnO8eLRf7kDJx?si=eyHaDOnRR_eGrP32oSwSmA

RELEASE DATE:

10th May, 2019

__________

THIS time around...

I get to review an artist that I am fairly new to. Jamila Woods is definitely getting people talking right now and her new album, LEGACY! LEGACY! demands attention. It is a gorgeous piece of work that conveys plenty of important messages and memorable moments. I shall come to that later but, when thinking about her, I wanted to address female artists in music and, once more, how they are dominating and warrant more acclaim; Neo-Soul and R&B blends and how it is much more favourable to Pop and other genres; artists who have something important to say and have this leadership quality to them; those who come from a hard background or have a history that provokes sensational music – I will end by speaking about Jamila Woods and where she might head next. I have talked a lot about female artists and how they have been storming 2019. It is no surprise to see yet another artist, Jamila Woods, do so well and get under the critical skin. Although the year is still quite young, there have not been that many great albums released by men. I guess there is chance for a comeback but the majority of the truly memorable albums have been released by women. This is not a new phenomenon but I think this year is especially strong. Maybe it is a reaction against inequality and a real show of strength. Perhaps it is something else but there are so many fantastic albums out there that beggar belief and stand in the mind. One wonders how long sexism can continue and whether there will be the same sort of equality in a couple of years as there is now. I hope not but it is troubling that, despite these fantastic albums by great women, there is imbalance and a lack of opportunities. I get a little fed up having to have the same debates and asking when change will come. Artists like Woods will turn the tide and are showing just how strong female artists are.

PHOTO CREDIT: Whitney Middleton

Whilst the facts are out there and we can see how many incredible female-made albums have come this year, one has to ask what it is about the music that has resonated. I think deeper, more challenging themes have come out. Men are taking about personal struggles and less commercial avenues but I think women are doing it in a more inventive and bolder fashion. In terms of sonic innovation, I think there is a lot more happening with women and, again, the effect is longer-lasting and more potent. There have been a few good Pop albums released this year but I think, for the most part, the best music is coming from other genres and avenues. The best of today is not necessarily emanating from the mainstream as it did years ago: right now, the finest material is happening away from the spotlight and is a lot stronger than previous years. Maybe I am getting carried away but there have been some sensational albums this year. A lot of the very finest albums have portrayed very strong messages and been very personal. Jamila Woods’ album, LEGACY! LEAGCY! is a stunning record that does deal with personal aspects but it is the richness of the compositions and vocals that get to me. One listens to the album and discovers endless nuance and stunning tracks. It is a remarkable work and, quite rightly, critics have been raving. I do think 2019 is a year where the best albums are being made by women and I do hope that this leads to greater recognition and exposure. Women are still underrepresented at festivals and they are not given the same opportunities as men. I shall move on now but I am observing the very best music coming through and it is being released by women. There is just something more engaging, exciting and stronger that we are not getting from the men. I think 2019 has been a lot stronger than the past few years for variation and strength and I am excited to see what comes before the end of the year.

I have been focusing a lot on genres like Pop and Folk and, whilst they are interesting and have plenty of memorability, it is great to talk about Jamila Woods and her blend of Neo-Soul and R&B. I have raved about Grime and Rap but, to be truthful, I tend to find I am struck by an artist when I first review that type of music and then it sort of fades and seems less spectacular after a bit of time. Maybe it is the aggression of the genres or something in the lyrics that fails to keep me hooked. When it comes to something smoother – with a definite edge to it – I go back time and time again. Woods is not someone who talks about love and does not stray from that. In fact, her music covers a gamut of emotions and experiences. Each track on her album references a historical figure and is a great testimony to black artists. There is a lot of history in the bones of the songs; a look at modern realities and joys. There is a mix of Norther Soul and Neo-Soul; a patchwork of different sounds that makes the album hugely enjoyable, unpredictable and exciting. Whilst there are songs that tackle black rights and roots, not everything on LEGACY! LEGACY! is heavy and serious. When she sings about her relatives and the plight of the black population of America, there is plenty of light, love and sensuality.

PHOTO CREDIT: Bradley Murray 

It would be perfectly fine and wonderful is Woods created an album that was all serious and did open our eyes but I think she has produced something more powerful because of the way she combines hard-hitting songs with lighter, more accessible turns. Critics have been raving about her album and, quite rightly, it is being tipped (already) as one of the year’s very best. I love what she is doing and where she is right now. One can look at fellow artists like Solange (Knowles) and how they are documenting the state of America and the way the black community are treated. Woods digs deep into her sonic treasure chest and brings together all these wonderful sounds. I feel the best albums of this year have displayed plenty of confidence when it comes to compositions and movement. So many artists rely on quick and simple sounds because they think that is the way to get a song into the head – it will fade as quickly as it arrived, I find. Those, like Woods, who push limits and open their imaginations are going to stand the test of time and you find yourself revisiting their songs time and time again.

 PHOTO CREDIT: Lawrence Agyei

Maybe it is the words themselves that make the biggest impact but I find the genres Woods has fused gives the songs extra relevance and power. If she were to stick with a single sound then I do not think the album would have as much depth and wonder. Instead, we have this rich bouquet that seems to dip into the history of music and splices so many unique threads together. Woods manages to do all of this without losing any focus or relevance. Every song, as I say, name-checks an important historical figure and the songs are so fulsome and stirring. You are given this very personal experience and feel but Woods is speaking for others and giving a voice to those who have been ignored or mistreated. Her lyrics are consistently awe-inspiring and incredible but it is the sounds around the words that add that extra punch. Maybe it is the fact that there are contrasts and clashes that elevate certain songs; maybe there is something else that means the music lingers and stirs the soul. I have been inundated with Pop and genres like that and I do tend to find that it can all get a bit samey after a while. With music like Neo-Soul and R&B, there is much more to be found and it gives me the chance to embrace something a lot richer and exciting. It is hard to put into words just how powerful and important Jamila Woods’ latest album really is. So many are buzzing right now and tipping this future star. She will go on to release so many other albums but, right now, we have a hugely important artist in our midst. I do think that there is a split between the mainstream and the underground that is quite alarming. I am not suggesting the mainstream is devoid of quality but look at artists like Jamila Woods and what she is doing right now. She is not following a template and writing like everyone else. Her music might not be instantly understandable to younger audience but it is the sheer importance of what she is saying that warrants a lot of focus. So much Pop music is built on repetition and very simple lines. I do feel we need to give more props to artists that are priding the quality of music over streaming figures and marketing. Woods is a natural leader who can affect change in music.

Maybe it is extreme to say that Woods can affect change and do something terrific in that respect but are politicians in the U.S. doing all they can? LEGACY! LEGACY! documents racial tensions and the struggle of black citizens in the U.S. There are few who can deny the emotions flowing through the album and how strong Woods sounds. She is this artist who knows how hard it has been for her relatives; she has grown up in a poor situation and worked her way to where she is now. Things are not perfect for her and she knows how hard other people struggle. Woods grew up in a family where there was this ethos of teaching and sharing. Woods herself has given a lot back and understands the importance of education. Such a strong and inspiring figure is making changes in people’s lives but I do think that she can make a real difference in the wider world. Maybe it is not as excessive as running for office but, maybe, she could set up a charity or foundation that helps those less fortunate or campaigns for black rights. Perhaps she already has something like that in the works right now but I know Jamila Woods is focused on seeing change and helping others. Before I move to another subject, I want to bring in an interview Woods have with The Guardian a few days ago. She talked about her music and background but it was when her family was mentioned that I got a greater realisation of where Woods came from and why her music sounds like it does.

“Woods grew up in the quiet Chicago neighbourhood of Beverly Hills, an idyllic enclave in a city wracked with inequality. Her dad, a physician, and her mother, a spiritual healer, instilled in her the idea of working for the community; following private schooling and a degree from Brown University, Woods became associate artistic director of Young Chicago Authors, empowering kids to create their own narratives through hip-hop and poetry. She compares poetry to hip-hop’s tradition of sampling from across black musical history. “There’s a similar respect for lineage – you can say you’ve written a poem ‘after Maya Angelou’,” she says.

“Woods describes a mentoring session where she had students draw lineage maps, using the people in their lives who had inspired them to find their own artistic voice. “It’s important for me to shout out those that came before, especially in a time where it’s about being individualistic or the first. That should be seen as a strength, because that’s what legacy is.”

So what is Woods aiming to achieve with her championing of legacy? She wants to break the cycle of silence in families, particularly between grandmothers, mothers and daughters. “When I got to a certain age, conversations with my mom and grandmother changed and there was more honesty. That’s part of breaking the cycle because if I hadn’t have known what they’d experienced with men in their relationships, I wouldn’t be able to recognise that there’s a legacy in those stories. It can’t be an individual decision – there has to be a culture shift and a communal conversation”.

I think the fact Woods is keen to promote legacy and is working in communities that gives her music such authenticity and insight. Other artists might know about struggles in theory and might not know too much about legacy and inspiring the next generation. Woods is actively getting into schools and communities and encouraging conversations and awakening. She is a wonderful artist who wants do more than record music and just put it out there. I love what she is doing and what she can go on to achieve. I think Woods’ music can start dialogue and inspire others in the world. There are musicians who are hearing what she is doing but I think it is her songs’ messages that getting to people like me – who come from very different situations and backgrounds. I do think the very best music can instruct and teach us something. LEGACY! LEGACY! is a terrific record that will go down as one of this year’s best and I do think that Woods deserves festival headline status. This returns me to the subject of women headlining festivals but, having released such a bold and stunning album, I feel organisers need to cast their eyes the way of Jamila Woods.

I will move on very soon but I wanted to spend a little time discussing Jamila Woods and what affect her music has. I have talked about the themes she addresses and, when documenting ZORA, I will go into more depth and detail. The song I am about to explore, actually, was named after the author Zora Neale Hurston. The song tackles the plight of someone like Woods growing up in a predominantly white background; it takes inspiration from Zora Neale Hurston when it comes to defiance and understanding white a white community might feel unfamiliar and disconnected from a black student/person – Woods understands why they might not want to spend time in her company. It is all very emotional and striking but, rather than being depressing and tense, songs like ZORA have heart, wisdom and understanding running through every line. Whereas we have these very gripping and evocative lyrics, the compositions are often quite different. It is these clashes of worlds and contrasts that make Jamila Woods’ music so addictive and different. There are similar artists out there but Woods comes from a different place. Whereas a lot of Pop artists are generic and discuss love in a very routine and cliché way, Woods is not only discussing her own experience (that is like nobody else’s) but she is looking at history and the wider world and raises awareness. I am not best qualified to dig to the roots of LEGACY! LEGACY! but I can understand why it is such an important album and why so many critics are raving. In pure musical terms, I was struck by all the different colours and layers present. Across the thirteen tracks, there is so much to digest and love. Listening to the album is as much about sonic satisfaction and exploration as it is learning and being inspired. It is no wonder that Woods is being elevated and talked about in such passionate terms. She has crafted something truly wonderful and compelling that is unlikely to be topped this year. What she has released is pretty moving and intense at times but it is also hugely accessible. One does not need to be in the same situation as Woods to empathise and relate to what she is saying.

ZORA opens, rather unexpectedly, like a Steely Dan song. It has that same sort of richness and tone to it but, in reality, there is more in common with Neo-Soul. Instead of there being this tension and anger, you get a very colourful, open and spirited introduction that is full of life and energy. It induces smiles and curiosity as you get inside this inviting and exciting sound; one that takes you away and runs straight through the veins. Woods’ voice is distinct and hugely characterful but, in some ways, there is a little nod to powerhouses like Erykah Badu. When singing about “Every classroom” and a “case of chocolate on the moon”, there is this feeling that Woods is not only nodding to her own experience of being quite alien in a school with mostly white faces but how others must feel. The imagery is stunning and unique and one gets a real sense of struggle and tension. Rather than being too aggressive and explicit with the lyrics, Woods is more poetic and oblique. This does not dampen the mood and distil the importance of what she is saying: rather, I find the words are more powerful and we can each have our own view and interpretation. One gets a real feeling that Woods was around a lot of privileged children but did not feel the same as them. Perhaps she was not abused and ostracised but one can imagine there was division and confusion. Imaging being the only one in your class/school that was black or you didn’t fit in at all. That is a scary and isolating experience and, whilst Woods does not seem embittered and scarred, one can imagine she has been affected and this has affected how she rights. The fact she has mentored and taught other children is a way of showing they can overcome adversity and are vital. Whereas the introduction was bursting with colour and pizazz, the composition is cooler and calmer during the verses.

 PHOTO CREDIT: Whitney Middleton

It has a coolness and sense of control but there is definitely passion and energy emanating from the strings, percussion and assorted instruments. It is a composition that is the classic Neo-Soul mode and is a perfect accompaniment to Jamila Woods’ stunning voice. Woods conveys so many different emotions and ensures every line gets into the head and can be understood. It seems that, against loneliness and being different, her energy is her biggest weapon. Others might balk and feel squashed by being different but Woods’ infectiousness and sheer force has been the coping mechanism. There is nothing wrong with being different in any situation but it is super-hard when you come from a very different background and how to go through school not being the same as others. Zora Neale Hurston, as the inspiration for this song, crafted and revealed this thought: “You will never know everything/I will never know everything”. This struck Woods and is used as a mantra and defiance. Woods was a black face in a largely white neighbourhood and, even when she was at church with a lot of black faces, she felt like an outsider. Maybe she was misunderstood or did not feel black enough. In any case, it seems that it is impossible to fully understand the multiplicities of a person and, in fact, perhaps not fitting in is okay. When listening to ZORA, one is struck by the feeling that the heroine had to face suppression and confusion but she has gained wisdom from a literary figure who has given guidance. This epiphany is expressed with wordless vocals and a Gospel-like breakdown that is filled with power and uplift.

PHOTO CREDIT: Lawrence Agyei

Woods talks about how nobody is truly free but she is on a new plane. She has heard all the insults and judgements before and is not going to be cowed. It is evident that Woods has had to take a lot of ignorance along the way but she fights back with defiance and resilience. The fact that nobody can know everything about everyone gives her a sense of hope and foundation. The band is so tight throughout ZORA but there is still some room for looseness and experimentation. There is a sense of flow and cool from the Jazz world but the spritz and colourful energy of Neo-Soul; a bit of R&B flair and passion in there as well. One comes away from hearing ZORA and feels completely invigorated and exhausted at the same time. It is a track that has ample spirit and fight but there is sadness and darker past that one cannot ignore. Woods has come from a background where she was different and had to try and find her place. Rather than let things gets to her and defeat her spirit, Woods has created a song that opens eyes and has a very resolute and mature spirit. There are many great moments of LEGACY! LEGACY! but I think ZORA is the standout track. One can happily listen to the song time and time again and you will learn something different every time you encounter it.

I have, I hope, covered all the bases when it comes to Jamila Woods and what makes her music stand out. She is this endlessly compelling person who is sure to conquer the world. I have mentioned how there is a split between the mainstream and artists like Woods who are still growing. I do think we put too much emphasis on what is considered marketable and cool and do not give the same attention to genuinely great artists. Let’s hope that this changes because, as we can see from LEGACY! LEGACY!, one gets more than a few interesting hooks and a predictable chorus. Instead, we are treated to a history listen and a motivational speech. We are witness to personal revelation and spirituality at its peak; a young woman who opens her own heart but opens all of our eyes to the realities of history and how her people have struggled. Each song does nod to an historical figure and sort of takes their messages to heart. There are a few collaborators on Woods’ album but the biggest impact one gets is from her.

A few collaborations add strength and new voices rather than steal focus from the artist herself. I would urge people to go out and buy LEGACY! LEGACY! because it is a vastly important album and one that is full of wonder and life. You will fall for certain songs the first time around but then come to obsess over others the more you listen. Albums like this are very rare and I do feel that Woods is a definite leader in the making. I shall leave things there but I think Woods has a very busy future ahead of her. There will be tour dates in America – keep an eye on her social media feeds for details – and I cannot wait to see where she heads next. She will want her new album to bed-in before thinking about anything new but there are many out there who will watch closely and wonder whether she can top an album as wonderful as LEGACY! LEGACY! It is a sensational thing and shows just what quality there is in music right now. As I said, I think the very best music being made is by women and I do hope there is a greater move towards equality in the coming years. It is people like Jamila Woods who will help bring about change through such wonderful music. If you have not experienced the genius and brilliance of Jamila Woods, make sure you get acquainted with…

  PHOTO CREDIT: Lawrence Agyei

A truly captivating album.

___________

Follow Jamila Woods

 PHOTO CREDIT: Caroline Marchildon

Official:

http://www.jamila-woods.com/

Facebook:

https://www.facebook.com/jamilawoodsofficial

Twitter:

https://twitter.com/jamilawoods

Spotify:

https://open.spotify.com/artist/4UodukR17NIQfNu5uaqm9B?si=-YrO8Ee2SbStkro1U4WttQ

Instagram:

https://www.instagram.com/jamilawoods/

YouTube:

https://www.youtube.com/channel/UCCLTVS3dVv9vKXYS-OSNNkw

SoundCloud:

https://soundcloud.com/jamilawoods

ALL UNCREDITED PHOTOS:

Jamila Woods/Getty Images

FEATURE: In a Beautiful, Magical World… Björk's Cornucopia

FEATURE:

 

 

In a Beautiful, Magical World…

IN THIS PHOTO: Björk in her new show, Cornucopia, at New York’s The Shed on 9th May, 2019/PHOTO CREDIT: Santiago Felipe/Getty Images

Björk's Cornucopia

__________

SOME artists put on a very ordinary...

 PHOTO CREDIT: Mixmag

and routine live show, but there are some that go the whole hog and create a real extravaganza! I do feel that it is hard to create a live performance that keeps the songs relatively natural whilst building something special around them. I am never a fan of the somewhat predictable and set-free set but, if you are an artist of a certain genre, there are going to be restrictions and barriers. If you are someone whose music evokes big scenes, dreams and extremes then the live show has to mirror that to an extent. In the case of Björk, one can never accuse of her of lacking energy, eye-catching wonder and a real sense of the fantastical. I am not hovering into nostalgic territory but I recall her first two albums, Debut (1993) and Post (1995), and being blown away but this unique and incredibly powerful artists. Her songs, whether talking about love, the natural world or something else, were so different to everything out there and delivered by a singer whose tones, emotions and colours were vastly different. Björk’s accent and the way she expresses songs gets into the heart and pushes the imagination to new realms. I have never seen Björk perform but I have seen videos of her live performances and read plenty of reviews.

Each of her albums embodies different themes and sounds – none of her records lack character and ample cinema. Translating that to the stage is no mean feat and there is always this (invisible) benchmark that she has to hit. One feels she views the stage as a chance to take her songs to new levels. Whether employing multimedia formats or bringing characters and beguiling sets to her shows; a Björk show is like stepping into a very strange, magical and memorable world. In a recently-opened venue, The Shed, Björk produced this original, bold and hugely memorable experience that touched on climate change and femininity. Many might read words like ‘climate change’ when linked with a concert and wonder how the two engage. Others might think that Björk would preach and provide something quite angered. Instead, her show/set balances a sense of foreboding with beauty and something quite sublime. I will end the piece by bringing in a review of Conrnucopia but, as The Guardian herald, Björk has created (perhaps) her most ambitious and astonishing show to date:

“Created by Björk and directed by the acclaimed Argentinian film-maker Lucrecia Martel, making her theatrical debut, the production is concocted to be an immersive experience and is funneled straight from the singer’s unique psyche. It’s strung together using selections from her 2017 album Utopia, a bright record rooted in love and the bliss of romance. (She’s described it in the past as her “Tinder” album.)

IN THIS PHOTO: Björk in her new show, Cornucopia, at New York’s The Shed on 9th May, 2019/PHOTO CREDIT: Santiago Felipe/Getty Images

The overarching theme of Cornucopia, as well as the one that permeates most of Björk’s work is nature, with the majority of the imagery coming from flowers and fauna. (After all, to some she is chiefly remembered as the artist who wore a swan dress to the 2001 Academy Awards; the relic is currently displayed about 40 blocks uptown as part of the Metropolitan Museum of Art’s Camp exhibition.) Supporting the visuals, natural sounds are employed, with one instrumentalist pouring water into a basin hooked to a microphone; the splashing liquid timed to the melody.

With an artist so firmly rooted in the natural world, the performance also doubled as a dire warning on climate change. Halfway through the production, a message about the dangers of pulling out of the Paris climate accord is projected. As the show, which celebrates the beauty of the Earth nears its end, a powerful message courtesy the young Swedish climate activist Greta Thunberg is presented”.

At a time – we are told all the time; it has become more pronounced – when climate change is in the news and there are dire predictions, I think more artists will be talking about it through their music; bringing it into their shows and trying to get across a very serious and pressing message: if we abandon and mistreat the natural world then we are creating a very bleak future for the planet.

 IN THIS PHOTO: Cornucopia’s director, Lucrecia Martel/PHOTO CREDIT: Félix Busso

I would have killed to be there to see Björk at The Shed and it seems like others will follow in her wake. Not that they can match the scope and spectacular of her show; more that the natural world and themes around femininity will take more of a role. It has been a while since I (have) attended a gig that really blew my mind in terms of its concept and sets. Björk has always moved and amazed but it seems, at a very tense and challenging time for humanity, bringing climate change and the natural world into a show is apt and eye-opening. Few would have come away from the performance without learning something and being shocked; awed by the beauty and transfixed by all the different colours, characters and interactions. I do hope that there is an adaption in London or people elsewhere get to see the show – or that it comes to YouTube or makes its way onto DVD. In any case, the fact Björk has created this sensational show is no shock to me. Rolling Stone, in this review from yesterday (10th May), provided their impressions:

“…The stage was curtained at various points with thread walls that functioned both as translucent scrim and projection screen. When the lights dropped, trumpeters heralded the start from within the crowd, then moved to join the Hamrahlíð choir, assembled in front of the stage. They performed a handsome selection of a cappella pieces, including Björk’s “Sonnets/ Unrealities XI” (from Medúlla) and “Cosmogony” (from Biophilia), evoking by turns the choral work of Arvo Pärt and Le Mystère des Voix Bulgares. At points, their voices were swallowed by the space, which showed iffy acoustics during the course of the evening.

Fans seeking more traditional pop exchanges — the performing of signature hits to trigger push-button sing-alongs — may have been disappointed. But most longtime Björk followers have learned to expect the unusual. “Venus as a Boy” and “Isobel” were abstracted in ways that made them difficult to recognize, in the spirit of latter-day Dylan, although material from 2017’s Utopia hewed closer to album arrangements. (A duet with serpentwithfeet on the remix of “Blissing Me” was one of the show’s high points.) Dwarfed by the giant projections, Björk was often lost amongst them but for when she appeared on-screen as a wildly animated warrior-sprite, or when she stepped into the front rows to sing on a stage extension. This seemed to be part of the point: the human being alternately empowered and subsumed by technology”.

 PHOTO CREDIT: Mixmag

The show started on 6th May and it is not just the one performance: Cornucopia runs through until 1st June and you know there will be demand to take it on the road and travel it abroad! That Rolling Stone review includes the set list and, if you have a look around, you can see other glowing reviews. I wanted to mention the show and Björk’s latest masterpiece as it raises important discussions regarding climate change and what we are doing. She manages to balance political messages and warnings with something gorgeous and sense-altering. Let’s hope that Cornucopia not only opens eyes in the U.S. regarding global warming – President Donald Trump is blind and ignorant regarding dangers facing us – and other artists take action.  

 IN THIS PHOTO: Björk in her new show, Cornucopia, at New York’s The Shed on 9th May, 2019/PHOTO CREDIT: Santiago Felipe/Getty Images

I am not suggesting that ever artist makes sure they bring up the dangers of climate change in their shows but that is also not to say it should be overlooked. They might not be able to match Björk’s grandeur and sense of wonder but I do hope that it sets a sort of trend. It is clear that, visually and thematically, she has made an impression and will change some minds. For those who love Björk’s 2017 album, Utopia, there is good news – as this Rolling Stone article explains:

“Björk transcends shape and form in the stunning new video for “Tabula Rasa,” a track off her 2017 album Utopia. The clip was directed by digital artist Tobias Gremmler, who places Björk’s face onto a shape-shifting figure that sprouts petals and fronds as it twists and billows through the air. It’s an uncanny and arresting sight, but beautiful as well, especially when the theme of metamorphosis is paired with Björk’s lyrics, “Clean plate, tabula rasa for my children/Clean plate, not repeating the fuck-ups of the fathers”.

It is a busy time for the Icelandic innovator and, who knows, maybe there will be a new album coming up soon! You can never predict what she will do next and just how spectacular the results will be. Not that many people reading this will get the chance to see Cornucopia in New York but, if it does transfer to other parts of the U.S. and the U.K., make sure you get along. She has, once more, raised the bar of what a live show can be and what it can do to someone. Cornucopia does contains messages of stark prediction and compel change but the abiding takeaway is one of sheer beauty and beguile. There are fireworks, flutists and stop-motion flowers. Maybe strange in anyone else’s show but, in the world of Björk, it is the case that…

ANYTHING goes!

FEATURE: Record and Rewind: Moby’s Play at Twenty

FEATURE:

 

 

Record and Rewind

PHOTO CREDIT: Corinne Day  

Moby’s Play at Twenty

__________

AS this year ends with a ‘9’...

 PHOTO CREDIT: Corinne Day  

there are lots of great albums celebrating anniversaries that were released in 1999. In fact, there are a load of wonderful records that have big birthdays. It is always exciting looking back and getting to discuss these influential and hugely memorable works. 1999 was a pivotal year for music and one where some big artists ensured the decade ended with a bang! Beck, Blur and TLC released some stunning albums but it is Moby’s Play that turned my head. On 17th May, 1999 Moby released the incredible Play. There was not a lot of expectation regarding Moby’s fifth album. Play was a change of direction after the rather average and critically-ignored/maligned album of 1996, Animal Rights. Embodying elements of Punk and Hardcore, Animal Rights was a change of real direction for Moby then – the man not quite sure who he was and what sort of music he wanted to produce! There were those who felt Moby was through by 1996. It took three years for the man to bring out any new music but one can understand the reluctance and need to craft something meaningful. By the time Play came along, gone were the Rock vibes and heavier sounds. Rather than bring out this angry and guitar-heavy album, Play is a more natural, ambitious and Electronic-based album that pleased fans and critics. Moby started recording Play in the middle of 1997 and you can see the work and passion in every song.

Moby had gained some respect and standing in the Electronic music scene long before Play was released – but it has been a while since he had any big kudos and reputation. This was a low point of his career (1999) and there was this need to reboot and regain focus. Maybe it was the changes in the music scene at the time – Moby getting away from Alternative and Grunge-type sounds – or a desire to release an album more immersive, positive and uplifting. There are darker tones in Play but, for the most part, one gets something quite warm and enticing. Play would go on to become the biggest Electronica album of all-time and has shifted over twelve-million copies. The fact Play sounds so cohesive and uniform is quite a shock. Moby had to halt recording several times during its creation because of touring commitments. Recording in Moby’s home-studio on Mott Street New York, there was a lot of experimentation and trial. The first mix displeased Moby and Play was then mixed outside his home-studio. Eventually, there was a mix Moby was happy with but a lot of time and money had been spent getting Play to an ideal standard. If a lot of Electronica music pre-1999 was more for the clubs and the underground, Moby made it more accessible. Adding in shades of Gospel, Pop and other genres, Play is a much more eclectic and engaging albums than a lot of the harder-edged and aggressive Electronica albums available.

Play stands out for a number of reasons. One of its biggest aspects is the use of samples and field recordings. Honey brings together Bessie Jones whilst Find My Baby joins Boy Blue to the mix. Elsewhere, we get Vera Hall and Bill Landford and The Landfordairs adding to this bursting and bubbling rainbow of sounds. I am a huge fan of albums that use samples and, whereas a lot of Hip-Hop classics employ scores of samples, Play is more subtle regarding its sourcing. The samples never encroach because of their brevity but they make a big impact. Such economy and clever combinations made Play an instant success and meant that we had this album that spliced African sounds together with Disco and Hip-Hop. Although there are some huge songs on Play, it took a while for the album to reach peak exposure. Critics did rave but it took licensing to get Play to the masses. Rather than rely on radio-play and music T.V. – which did feature some of the songs but did not garner huge reaction – Moby allowed tracks to be played on T.V. and film. Soon enough, momentum began to shift and Play reached new heights. Play’s status and brilliance has grown since 1999 but, whilst some of the early reviews were muted, there was plenty of praise. In 1999, Entertainment Weekly assessed Play thus:

“Portions of this techno imp’s best album since 1995’s Everything Is Wrong are built on a simple premise: setting snippets from old blues and gospel recordings to new rhythmic (not always electronic) settings. What could’ve been a condescending gimmick yields some of the year’s most haunting, and haunted, music. Moby’s elegant soundscapes wipe away the mustiness on these decades-old voices and make the singers’ heartache and hope seem fresh again. Although in need of a bit of pruning (notable exception: the gorgeous ”Porcelain,” featuring Moby’s own plaintive vocal), Play is music that truly moves back to the future”.

In a contemporary review, AllMusic paid tribute to Moby’s masterpiece:

“The first two tracks, "Honey" and "Find My Baby," weave short blues or gospel vocal samples around rather disinterested breakbeat techno. This version of blues-meets-electronica is undoubtedly intriguing to the all-important NPR crowd, but it is more than just a bit gimmicky to any techno fans who know their Carl Craig from Carl Cox. Fortunately, Moby redeems himself in a big way over the rest of the album with a spate of tracks that return him to the evocative, melancholy techno that's been a specialty since his early days. The tinkly piano line and warped string samples on "Porcelain" frame a meaningful, devastatingly understated vocal from the man himself, while "South Side" is just another pop song by someone who shouldn't be singing -- that is, until the transcendent chorus redeems everything. Surprisingly, many of Moby's vocal tracks are highlights; he has an unerring sense of how to frame his fragile vocals with sympathetic productions. Occasionally, the similarities to contemporary dance superstars like Fatboy Slim and Chemical Brothers are just a bit too close for comfort, as on the stale big-beat anthem "Bodyrock." Still, Moby shows himself back in the groove after a long hiatus, balancing his sublime early sound with the breakbeat techno evolution of the '90s”.

There will be a lot of celebration and focus when the album’s twentieth occurs on 17th May. Back in 2009, Rolling Stone ran about Play and Moby talked about the album’s success and struggles.

“As slow as slow-burners get, Play didn’t pick up steam until the following year. “Almost a year after it came out in 2000 I was opening up for Bush on an MTV Campus Invasion Tour,” says Moby. “It was degrading for the most part…

PHOTO CREDIT: Getty Images 

Their audience had less than no interest in me. February in 2000, I was in Minnesota, I was depressed and my manager called me to tell me that Play was Number One in the U.K., and had beat out Santana’s Supernatural. I was like, ‘But the record came out 10 months ago.’ That’s when I knew, all of a sudden, that things were different. Then it was Number One in France, in Australia, in Germany — it just kept piling on.

“The week Play was released, it sold, worldwide around 6,000 copies. Eleven months after Play was released, it was selling 150,000 copies a week. I was on tour constantly, drunk pretty much the entire time and it was just a blur. And then all of a sudden movie stars started coming to my concerts and I started getting invited to fancy parties and suddenly the journalists who wouldn’t return my publicist’s calls were talking about doing cover stories. It was a really odd phenomenon.”.

Moby discussed all the tracks on Play but he had a great story about one of the album’s biggest hits, Porcelain:

“Strangely enough, that’s probably the most signature song on the record, and I actually had to be talked into including it. When I first recorded it, I thought it was average. I didn’t like the way I produced it, I thought it sounded mushy, I thought my vocals sounded really weak. I couldn’t imagine anyone else wanting to listen to it. When the tour for Play started, “Porcelain” was the song during the set where most people would get a drink. But then Danny Boyle put it in the movie The Beach with Leo DiCaprio. It was Leo DiCaprio’s first film since Titanic and everyone went to go see it. He used the music so well in the movie. I think that’s when a lot of people became aware of the record”.

I remember snapping up Play not long before leaving high-school and I was not that familiar with Moby at that point. It was not T.V. visibility or film licensing that brought Play to my attention: instead, word-of-mouth and excited chatter at school compelled me to buy the album. I – like my friends – was listening to a lot of British music and Rock; a lot of the same Pop and was starting to discover great Electronic music.

After listening to the album once, Play embedded in my mind and introduced me to this new world. It is this fantastic and eye-opening experience that takes you somewhere special. Before singing things off, I wanted to highlight a BBC programme that involves Moby talking about Play’s track and its hard life. Have a listen to the show but, as is told, the modest start of Play did not indicate future success and worldwide acclaim:  

“Without major label support or funding, Moby was left to his own devices, and he recorded Play “on second-hand equipment” in his bedroom. At a time when expertly-produced, shiny pop songs made by the likes of Britney Spears and *NSYNC were topping charts, the idea of a do-it-yourself electronic album achieving the same looked inconceivable.

Moby wanted a vocal-led record, but he couldn’t sing well enough, so he relied on samples lifted from CDs gifted by his friends Dimitri and Gregor Ehrlich.

The only exception was Porcelain, which Moby contributes the vocals for. “I grew up listening to a lot of post-punk, which was not about virtuoso vocal performances. I found that kind of empowering”.

When speaking with BBC Radio 2, Moby confessed that he is shocked by Play’s major success and how influential it has become:

“Maybe this is a bad thing to say, but I still don’t think the music on Play is better or worse than the other records I’ve made. Obviously I’m mistaken. I don’t know why any of these songs connected with people,” he admits…

“If I had to possibly [guess], it’s because there’s a vulnerable, emotional quality to a lot of the music. And it was released at a time when there was not a lot of vulnerable emotion in music… I made this record in my bedroom, with broken equipment, after my mum died; so I think there was an inherent vulnerability in every aspect of the creation.”

Moby also believes he was fortunate in terms of when Play came out; a time he considers to be more carefree than the noughties. “Think about what the world was like in ’99 and 2000. We were innocent. The Soviet Union had ended. Bill Clinton was President. Tony Blair was Prime Minister and hadn’t disgraced himself by being a friend of George Bush yet. 9/11 hadn’t happened. Social media hadn’t happened. The world felt benign and innocent. When someone hears the music from Play, or other albums from that period, it’s their own youth and innocence.”

Play’s mellow, oddly uplifting electronic sound spoke to casual listeners and dance-obsessives too. “Along comes me and Air and Portishead and Massive Attack. It’s still dance-inspired electronic music. There wasn’t a cabal of electronic musicians who decided to make music you could play at a dinner party. But unintentionally that’s what we all ended up doing”.

As I said earlier, there are a lot of great albums from 1999 that will be marked and covered very soon. Moby went on to create great albums post-Play - but nothing that matched the invention and wonderful of his 1999 benchmark. Who knows whether he has another album like this in him but, considered the effort and time it took to record Play, he might not be in a rush to repeat the experience! There are so many brilliant songs on Play and each of us will have our favourites. Play is an album that seems to grow richer and more engaging with each passing year! As we are about to mark its twentieth anniversary, it is a great excuse to get the album out and understand why it is regarded as groundbreaking. I cannot wait to celebrate other big albums released in 1999 but none of them have quite the same story, legacy and magic…

 PHOTO CREDIT: Getty Images

AS Moby’s Play.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Lola Kirke/PHOTO CREDIT: Lili Peper  

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

__________

WITH the weekend here...                                       

 IN THIS PHOTO: Jamila Woods

it is about time to get another female-led playlist up and running! It is another great and colourful rundown that combines female artists from all around the musical landscape. Have a listen to the tracks compiled and I am sure there are a lot of artists in there that are new. It is always awesome discovering fresh talent and something you were not expecting! I am not sure when the weather is going to improve but let’s hope there is something in the way of sunshine a bit later in the weekend! In any case, slap some music on and enjoy the latest instalment of spring-ready songs from some new and promising female artists. It is a promising and eclectic time for music and, I hope, that is reflected here. Sit back and let the songs…

IN THIS PHOTO: LAUREL

DO their work.

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

____________

Tertia May – Twenty Two

PHOTO CREDIT: Morten Rygaard

Kill J – Moon Sick

Lola Kirke – Omens

PHOTO CREDIT: Heather Hazzan for Suited

Kelly Lee Owens – Omen

Abi F Jones – Killswitch Engage

Summer Camp – Love of My Life

Jamila Woods – MUDDY

Dinah Jane – Retrograde

PHOTO CREDIT: @chrisdnm

Shunaji – Not Lookin’

Ingrid Michaelson – Missing You

Charly Bliss – Under You

Loveday – Thought It Through

CXLOE – Low Blow

girl in red – dead girl in the pool.

Gia Woods – One Big Party

LAUREL – Life Worth Living

Hannah Grace – Almost

The Motion – Sleep Talk

PHOTO CREDIT: @emi.jjasmin

Olympia – Hounds

Amy Baker – A Fine Romance

Lola Coca – Damaged Goods

PHOTO CREDIT: @bridielouphotography

Katie Graham – Boy 

Emma Stevens – Atoms

Mara Simpson – Keep You in Light 

Zuzu – How It Feels

Kita Alexander – Between You & I

INTERVIEW: Juvenal Maze

INTERVIEW:

Juvenal Maze

___________

MY last interview until next week...

is with Juvenal Maze, who has been discussing his tracks, In a Place/She Just Wanna, and how they came to mind. I ask what music inspires and whether his Congolese roots have impacted his sounds/music – he reveals some rising artists to watch out for.

I was curious to know if there are gigs coming up and how Juvenal chills away from music; what he has planned for the rest of the year and which albums are most important to him – Juvenal Maze picks a cool song to end things with.  

____________

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

My week has been sweet, thank you. Been trying to keep myself productive and inspired. 

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

My name is Juvenal Maze and I'm a singer-songwriter-producer based in Ilford, London. 

 

In a Place/She Just Wanna is your new release. Is there a story behind it all?

Yes, actually, the story behind this involves me and one girl I was cool with at one point in time. The friendship started off well; it was a bit of a weird one but things were cool. I wasn't looking to be exclusive with anyone at the time. We were in contact and that agreement was understood on both sides so it wasn't going anywhere. Well, that was the initial idea until her feelings for me started to grow the more we were in contact. From there, things became complicated but, despite the complications, we were actually still cool.

We didn't mingle from there and things came back to a friendship basis with no intimacy. So, at first, how I wrote She Just Wanna reflected our bond at the time we were cool. Sometime down the line things went left as I guess I felt betrayed (in a way) and some other complications had come up - so with that I rewrote the song from that stance. 

With In a Place, it was more about my feelings and state of mind; looking at myself from a place where I'm now successful (and everything) and question myself about where I came from because, in this industry, a lot of people tend to forget to remind themselves and get lost. It then goes on to touch on when I went through depression at sixteen and my coping mechanism, escaping this reality and entering another one. Playing video games was my vice until one day I woke up and realized - wow, is this life?

It was a moment of clairvoyance for me. Following on is my experience of being afraid to fall in love, being in love and being in denial (of the feeling of love) because it's a new overwhelming feeling that has a hold on me - one that I'm afraid to accept. With these experiences, I find myself struggling to diagnose myself so I just refer to the term ‘in a place’ whenever I'm experiencing something that can't quite be explained or understood. 

I believe there is an E.P. later this year. What can we expect from it?

Yes, there is. Well, it's literally a rollercoaster of thoughts and expressions from experiences I've had or seen and just a leap into different perspectives besides my own. I guess it shows a part of me thus far. 

How did you get into music? When were the seeds sown?

From the age of fourteen.

I was in the playground at school and a group of my classmates were there playing music and just spitting bars…but what intrigued me was how the looney tunes anthem could become a Grime riddim. That pretty much sparked my curiosity and I wanted to figure out how to create my own; from starting out with Grime than experimenting with different sounds. It's become my way of life. 

You have Congolese heritage. How important is that to your music?

I find it pretty important, to be honest. I don't feel as though it's really brought forward like that among our mainstream genres of today like R&B, Hip-Hop and so on. Where I appreciate it, I try to sprinkle it in. That identity and being able to just showcase that - yeah - you can add a lil sauce here and there. That's what I'm here for. Like, don't get me wrong, some people do it a bit but I ain't the type to play it safe. Besides, that's just to show that we are here too and, hopefully, I can inspire other Congolese artists to come out of their shells and show the world what we are about.

I'm just doing it my way. 

Which artists inspired you growing up? Did you have quite eclectic tastes?

There weren't any in particular as I was more focused on actual sounds and instrumentals but I'd say Drake, Kendrick Lamar; J. Cole, Ludacris, Pharrell; T-Pain, Boyz 2 Men; SWV and pretty much every R&B hit under the sun. I listened to a lot of Reggae and Dancehall too so that was thrown into the mix. Linkin Park, Coldplay and, of course, being Congolese: the fro eat was always there. 

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

This whole journey is still a standout memory as it is, but I would say when I first wrote and released my first track, Kitoko. That was the start of a very expressive year and has definitely played a major part and reason as to why I write today. 

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

Drake - Take Care; Kendrick Lamar - Section 80 and Good Kid, M.A.A.D City. With Drake, I came across him from that album, where music had already started being the voice of my expression. That album really allowed me to tap into that. With the production, I remember always incorporating pads and strings a lot and I believe it's because of that. I'm more of a vibe guy so different instruments and sounds give of different feels to me and that's what I really pay attention to when producing.

Now, with Kendrick ; I discovered him in my late teens. A lot of what he was talking about in his music and how he was expressing himself really made me pay attention to what he was saying. His music has definitely been a heavy influence in terms of my drive and passion when it comes to my part and my purpose but, yeah, I just really appreciate the honesty in his music and how it provokes introspection. 

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

That's a really difficult one because I'm not the type to really follow artists. I really just chill in my own lane and just enjoy whatever is out there but, if it came to it, I'm ready to support a musician that is honest, passionate and is serving a purpose with their art besides the entertainment. Like, what's your soul saying? What impact are you looking to have on someone or the world as a whole? Someone who is working to make a difference for a better future. That's who I'm down for.

What are your other plans regarding gigs/touring?

Definitely looking to perform a lot more. I got a performance at Splash Festival (Germany's biggest Hip-Hop festival) this year that I'm excited about as well as couple others. Just trying to take it all in and connect with people. 

Is the stage somewhere you feel at your most alive?

The stage, at the moment, is something that really challenges me. I'm not the type to be in the spotlight and express myself. Being vulnerable at the same time. So, yeah, that's with that but where I feel most alive is when I'm just out there creating music. The process of creating music is where I feel alive, hands down. 

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

Study inwards as well as out; be real with yourself and stay true to yourself. Understand yourself; always work on bettering yourself as a person; find your peace and keep challenging your comfort zones. Live life and experience things; go for a walk or something and just remind yourself that you are you before your art and you define you. 

 IN THIS IMAGE: K The Infinite

Are there any new artists you recommend we check out?

K The Infinite, Jael The Voice; Tazzz P, Okeam Briscoe and Lylo Gold - definitely keep an eye on these guys. 

Also, my SOULUVMUZIQ family: BVRGER, MadD3E and Miko Waye. They've been around for a bit already but they have some sick, sick vibes going on. 

 IN THIS PHOTO: Lylo Gold

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

My unwinding is making music (laughs)! But, I watch anime. I just live life and enjoy each day as it comes, really.  

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).

Thank you very much for having me. Hmm, if you could play RAYE, Maleek Berry - Confidence (Preditah Remix)

___________

Follow Juvenal Maze

Twitter:

https://twitter.com/juvenalmaze

Instagram:

https://www.instagram.com/juvenalmaze/

Spotify:

https://open.spotify.com/artist/4bK1Jsd9rYvnfjykGb6UjD?si=SbJmdhXaQ2-D9QTFwVfZfg

YouTube:

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

FEATURE: The May Playlist: Vol. 2: Idle Bullets and Constant Craving

FEATURE:

 

The May Playlist

IN THIS PHOTO: Madonna/PHOTO CREDIT: @Madonna  

Vol. 2: Idle Bullets and Constant Craving

___________

THIS is a week where there are not that many explosions…

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Lindsay Melbourne

but plenty of spark. I am glad there is an IDLES track out and, alongside them, Madonna, Cat Power and Skepta have released new material. It is definitely an eclectic mixture of artists and movements and it is all that you need to get the weekend off to a kicking start. I am pumped by all of the great music coming out and, whilst some of the big players are preparing new material, there is a lot of cool stuff from those a bit further down the ladder. Have a listen to the assorted collection and I know there will be something in the pack that you’ll like. I am always amazed just how diverse the music world is and what is provided week in, week out! Let these sounds do their work and guide you through the weekend. With the weather being a bit rubbish, this is the perfect excuse to crank up the volume and…

 PHOTO CREDIT: Skepta

ESCAPE somewhere wonderful.  

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

__________

Skepta – Bullet from a Gun

PHOTO CREDIT: Naomi Wood

IDLES – Mercedes Marxist

Mac Demarco – On the Square

Madonna, Swae Lee - Crave

Cat Power – Horizon

Sinkane - Ya Sudan

IN THIS PHOTO: Flying Lotus

Flying Lotus (ft. Anderson .Paak) - More

Boniface - Ghosts

Noel Gallagher’s High Flying Birds - Black Star Dancing 

Kylie Minogue – New York City

PHOTO CREDIT: SHOT BY PHOX

Grace Carter - Don’t Hurt Like It Used To

Skillet – Legendary

Billy Ray Cyrus – Angel in My Pocket

AURORA – The River

Carly Rae Jepsen – Too Much

Ciara – Beauty Marks

Dido – Take You Home

Jamila Woods - MILES

 

girl in red – dead girl in the pool. 

PHOTO CREDIT: Tam Topolski

Childcare – Sugarcane

Hannah Grace – Sleepwalking

PHOTO CREDIT: Jonty Herman

Roo Panes – All These Walking Thoughts

Rosie Lowe – Mango

Ari Lennox – BMO

Eliza Carthy – Lady All Skin and Bone

Luke Combs – Beer Never Broke My Heart

Rhye – Awake

Barns Courtney – You and I

Holly Herndon – Crawler

The Amazons – End of Wonder

Vince Gill – A Letter to My Mama

Blink-182 – Blame It on My Youth

TRACK REVIEW: IDLES - Mercedes Marxist

TRACK REVIEW:

 

IDLES

PHOTO CREDIT: Tess Janssen Photography 

Mercedes Marxist

9.6/10

The track, Mercedes Marxist, is available via:

https://www.youtube.com/watch?v=IoxivC5GVAU

GENRE:

Post-Punk

ORIGIN:

Bristol/London, U.K.

RELEASE DATE:

7th May, 2019

__________

WHEN looking at a band I have followed...

 PHOTO CREDIT: Charlotte Patmore

for quite a while now, I have to approach them from different angles. It is not enough just to think about IDLES in the way I used to: a lot has happened in the camp since then so I need to address that. I will discuss Punk/Post-Punk bands in this day and age and how they are speaking loud; how the rawness produced actually does lift you and provides much-needed catharsis; a band who are unafraid to address more difficult themes and the bond that you hear with IDLES; a little about their gigs/live set and where they might head from here. Let us consider IDLES and their new single, Mercedes Marxist. Many are hailing it a ‘return’ but, to be fair, the lads have not really gone anywhere. The reverberations and echoes of their current album, Joy as an Act of Resistance, are still being felt and it is great that they have a single out. I am not sure whether this is the first sign of a third album and what they have planned for the coming months. Right now, there are a band of Post-Punk/heavier bands that are documenting what is happening in the world. I am not sure whether one can view Fat White Family and Sleaford Mods purely as Post-Punk but they definitely have elements of that in their music. There is Cabbage and Shame; a little bit from Fontaines D.C. and Squid. It is a time where acts/bands are providing something a little more direct and charged; less reliant on hooks and big choruses. I think, although Punk died and we cannot really revive that, the new generation are producing their own example. What I love about IDLES is how they can deliver this very physical and primal music but it does not overwhelm you. Is there anyone out there who has the same sort of appeal and quality as IDLES right now? They are definitely among the very best bands of the moment and there are few who can touch them.

  PHOTO CREDIT: Charlotte Patmore

I will stay on Post-Punk because there is a real need for it at the moment. Consider one of the reasons why Punk sprung up back in the 1970s. There was a feeling that music was a bit slight and bigger themes were not being tackled; there was corruption and people were struggling – these artists, such as Sex Pistols and The Clash, articulated the frustration of their generation. Right now, there is all this aggression and fear in the air and IDLES are one of the bands who manage to transform a common feeling into their own, unique sound. It is great that there are other bands that are producing the same sort of feeling as IDLES. Although bands like Fat White Family and Sleaford Mods have been taking digs at IDLES – claiming they are a bit middle-class and not genuine – it seems like jealousy and desperate slots from weaker alternatives. In any case, the Post-Punk wave that is coming out right now is electric and exciting. I cannot wait to see how this develops and whether other bands will come through. I do love IDLES but Fontaines D.C. are other great band that are worth watching. Maybe the style of Punk has changed since the 1970s but, at the core, is this need for change and an articulation of a bubbling anger. Many of us are confused and worried about the world – the likes of IDLES are perfect when it comes to putting that on the page. Of course, the band is much more than that. They look at society and those kind of people that warrant ridicule, investigation and a sharp tongue! In some ways, Post-Punk is a broader genre than its forefather and the musical palette is richer and deeper. That is not to take anything away from the originators but I do think there is more movement and flexibility in Post-Punk. IDLES are leading the charge and providing the world with something much-needed and fantastic. In a music world where there is not a lot of uplift, is Post-Punk doing what Pop music used to back in the 1980s and 1990s?

Of course, Pop was influential and big before the 1980s but it has been a long time since we have heard any decent, truly memorable Pop music that can last for decades. I do think that Pop music, right now, is doing its own thing and not really concerned with providing joy and excitement. There are some big Pop songs and those that make you feel better but, more and more, there are minor-key songs and something moodier. It is very annoying that we have to experience Pop that lacks real flair and happiness. Strangely, it seems like Post-Punk is replacing Pop in many ways. Maybe it would be a stretch to think that Post-Punk is happy and bright but the sheer energy and power that radiates from bands in this genre does give you a boost and feeling or release. I guess that is what we need at the moment. Whereas so many artists are keen to be anxious and release music that is pretty sad, IDLES and their peers are going further and actually giving us all this huge sense of unburden. They do tackle important themes in their music but the way they deliver the material is fantastically forceful and exhilarating. You cannot listen to their music without getting involved and feeling like a weight has been lifted. I guess Punk didn’t burn that long back in the 1970s and 1980s but, when it did, it seemed to galvanise the youth and channelled a lot of their stress into music that provided this rush and explosion. Right now, the world is in a pretty mixed and messed-up place so, naturally, we do need music that can allow us to vent and make us feel better. Even if the subjects being addressed are not that positive and redemptive, there is something affirmative one gets from listening to IDLES and their ilk. IDLES are especially skilled at balancing deeper themes and serious subject matter with music that gives this escapism. I can listen to a song of theirs and, by singing along or moving, actually see troubles fading away.

PHOTO CREDIT: Emma Swann

I don’t know if they are thinking of marketing this as a get fit video but the ‘IDLES workout’ is one that affects the heart, body and brain. You can get all your daily exercise, dance around and actually listen to something very important and imaginative at the same time. Maybe I am straying off the track a bit here but it seems like Post-Punk and bands like IDLES are actually helping with our physical and mental-health. They are a fantastic band that I have been following since their debut album, Brutalism, back in 2017. They have taken leaps since then and now, in 2019, they look set to release their third album – or there is suggestion that an album could arrive very soon. They have this way of writing where they can bring in everyday characters that we all know and have experienced but give it their own tinge and angle. The band has written about mental illness and toxic masculinity. It might seem like they are pretty down and depressive but they never address these subjects in a very dour and sleepy manner. One of the reasons I think modern music is in trouble is because artists are too serious and they have lost the sense of fun. It is great writing about what you experience but, when you have so many doing this and it is very morbid, it does get to you. IDLES stray away from this and, when they address harder topics, there is always this energy and rush that makes the song stick in your head. I would encourage more artists to do this because, actually, it is much more memorable and affecting. I should leave this theme where it is but I do think that we all need to feel better and embrace music that has catharsis. One gets this with IDLES and, when listening to their songs, you actually learn something! Is the acknowledgement of something quite troubled and tough something that will put people off, perhaps?

 PHOTO CREDIT: @lindsaymelbo

I do think that it is quite hard to write about things like mental-health and toxic masculinity and make the music quite rounded and positive. We do not want to dampen the meaning and message being portrayed but we do also not want people to feel depressed and exhausted. IDLES have that passion and energy that means the songs definitely evoke response and do not get you down. You can hear what is being said and appreciate it – never feeling overwhelmed and pummelled by it at the same time. It is a skill to pull off but it returns to what I was saying earlier: Pop music and a lot of the mainstream and giving us a lot of depressive sounds and not really lifting us up. IDLES are a band who can captivate and unite people but they never shy away from the tougher elements of society. They can talk about mental-health and struggles from a very personal and real place. Their lead, Joe Talbot, has experienced mental illness struggles and personal tragedy. He has gone through a lot and can bring some of this to the music. The band looks out at the wider world and tackles political issues. We have this sense that IDLES are trying to change the world but they never preach and force it down our throats. You do get a sense that IDLES can go on for years and literally help affect change. It is only recently that a lot of artists have started to talk about topics like mental illness and anxieties. So many do it in a very dour and flat way and I do think that this can put the listener off. IDLES are masterful regarding balancing seriousness and humour; making sure their music sparks but there is compassion at heart. They have the intelligence and wisdom to balance all considerations and ensure the emotions in their songs are pure and balanced. Long may the kings of Post-Punk reign and inspire – so many people are enriched and inspired by everything they do. I love them and was very keen to tackle their current single.

 PHOTO CREDIT: Pooneh Ghana

I have never seen an IDLES gig but I have read plenty of reviews and seen the photographic proof! These boys don’t mess around and, when they are in the crucible of live performance, there is this connection with the audience that is primal and almost spiritual. They put on these incredible shows that are filled with energy and memorable moments. Led by Talbot, IDLES give these huge live shows that get into the blood and live long in the memory. I do not know how they have the energy to keep going as strong as they are (if that makes sense?!). We are being told that venues are closing and we can see evidence of that. I think it is a shame that bands like IDLES might struggle in the future because of the dwindling live scene. I have not gone to a lot of gigs lately because I am not sure whether it’ll be worth it and whether it will be memorable. IDLES are top of my list when it comes to live gigs because every review they receive is filled with love and recommendation. It seems like the stage is their crucible and pulpit. Their faithful acolytes and followers throw love the way of IDLES and, in return, the band deliver these incredible shows. I will finish with this but it seems like the calendar of IDLES is pretty packed for the foreseeable future. I have covered aspects of IDLES’ music and how they stand out from the crowd. I do hope that the band get time to chill and relax because they have hardly paused for breath over the last few months. I know Talbot has a young child and the boys have busy lives. One can tell the guys have no intention on stopping because of how they are received. Their gigs are selling out and they are providing something vitally important to their fans. I have discussed how there is catharsis and education in their music; a release and sense of understanding that we all need right now.

They bring this onto the stage and can bond people instantly. Seeing an IDLES show is a revelatory experience and, whilst I still need to see it for myself first-hand, I know plenty of people who have seen them and can testify. I shall move on in a second but would suggest you go see the band play if you get the chance! They have been gigging for years now but seem to get stronger and more ambitious with every passing year. The fact they have more material under their belt means they have a fuller show but, as performers, I do feel like they are sharper and more nuanced. Cynics out there claim that Post-Punk does not have the same sway and pull as Pop and might not be as evocative as Rock and Indie music. Maybe there is a modicum of truth but Post-Punk is doing what Pop music struggles to do right now: get people moving; get the blood pumping and actually produce some energy. I do love Rock but there is a lack of inspiration and originality happening right now. I feel Post-Punk has a vital role to play right now and is filling many gaps. Even if the original Punk movement lasted a few years, the artists in the Post-Punk genre are producing music much more varied and complex than their older peers. When bands like IDLES bring this to the stage, it inspires others and will definitely resonate with upcoming bands. Before long, we will have a much larger movement that has the potential to endure for many more years! That will be exciting because, at a time when politicians are lying and letting us down, we do need bands like IDLES to lead the way. What I am not a fan of is when other bands turn on them and try to dispute their authenticity. IDLES have responded to criticism from the likes of Sleaford Mods and fought their corner. I do think all these bands need to work together because they have a very big role to play right now. Mutual understanding and respect could actually be of benefit and make a difference. We are all a little frayed and nervous so I do feel music has a big role to play.

  PHOTO CREDIT: Pooneh Ghana

Growling, belching strings open the song with chug and force. The sound definitely offers a kick and, when the drum comes in, the song steps up and makes you move. It is always important starting a song with a sense of meaning and promise. IDLES are masterful when it comes to hooking you right away and producing something new. I do like how they sort of build this steam and sense of intrigue from the very off. You are definitely curious to see what is coming and are along for the ride. The introduction does not last that long but it moves through stages and manages to whip up plenty of energy! One gets some enigma and curiosity in the opening moments. Talbot sings about his head being destroyed and this sense of betrayal. The revolution is dead, it seems, and one gets the feeling that promises have been broken. Whether he is referring to our Government and what is happening with Brexit; maybe there is a nod to politics in general and how everything is motivated by personal greed. The composition is never too aggressive and intrusive and you get this nice little interplay between the vocal and composition. Our hero’s side is being split – not in a good way – and one can feel a tangible pain resonate. IDLES’ lead seconds what he and she said; there is an agreement and sense that everyone is in this same boat – one that is going to go down hard in the storm. With a chug and compositional steam that reminds me of Queens of the Stone Age, Mercedes Marxist gets under the skin very easily. It is another IDLES song that looks out at the world and does not focus wholly on the personal. Even though the hero is strained and annoyed, he is documenting what everyone else feels and is going through. Talbot has this patience in his voice that threatens to explode but he keeps his composure and looks around him.

Just as you feel like things are going to go off the rails, there is another twist and turn. In terms of true meaning, the band leaves the song open and inscrutable so one can decipher their own meaning. It is clear modern events in the U.K. have affected the song’s train of thought and ideals. Our man creates another plot twist when he talks about being wasted and on his knees. Whilst it might sound like bleak territory, one never feels haunted and down during the delivery. Talbot would wait at the gate and follow this person but he is already buckled and struck. There is this instant feeling that he is intoxicated and not able to meet a lover but there is also this feeling it could be a metaphor for general malaise and impotence. This feeling that things are heading in the wrong direction and the leaders out there are betraying the people. The song’s title projects images of political clashes and contradictions; those who should be looking out for the people and revolt but are more concerned with their own wealth and status. We can all get behind this notion and feeling that politicians do not have the best interests of the people at heart. We get this drunken-sounding chorus where the hero talks about being on his knees and wasted. He has gone through a lot and is seeking guidance. One can interpret Mercedes Marxist in a number of ways but it is evident that there are political concerns and doubts in mind. This is very much in safe and dependable IDLES territory but they offer something new on their latest single. In terms of lyrics, Mercedes Marxist might be simpler and less image-rich than a lot of their work but there is an immediate power and simplicity that gets the song into the head.

 PHOTO CREDIT: Louise Mason

I do think that it hints at a new direction and signs that another album might be coming along very soon. As Mercedes Marxist gets near its end, you get the bellowing vocals and a lot of energy coming from the band. This is definitely IDLES stepping into new territory and trying something a little different. When listening back to Mercedes Marxist, I picked up new things and my mind was stretched in another direction. The band themselves know the truth behind the song and there is definite room for interpretation. This is a short, sharp shock that seems to find IDLES’ lead bereft and exhausted. He is a little cold and fatigued and he is definitely looking for answers. I felt that there was no specific person in mind regarding the song but more a general anger directed at politicians and the type of people who purport to lead the country and have everyone’s interests at heart. Maybe politicians have always been like this but we are living in especially extreme and turbulent times. It is only right that bands like IDLES should come forward and wag the finger. We can all relate to what they are saying and get behind their banner. I have already stated how there is this great Post-Punk movement happening and more and more bands keen to express their dissatisfaction. One never gets the sense these groups are trying to bring people down: conversely, their music is filled with hope and the feeling that change can come. IDLES are not just a band of angry young men who are fed up with everything and want to torch people. They know things are a bit crap and split but, rather than ache and shout, they are trying to bring us together and find a way through. This is very positive and will also inspire other bands to get involved and have their say. I do love Mercedes Marxist and what it says and, even if it does not lead to an album soon, it is a great cut from the band. It is one of their strongest songs yet and I love how confident they sound. The boys are on fire now and I do hope their majesty remains for many more years to come.

 PHOTO CREDIT: Pooneh Ghana

Check out IDLES’ social media channels to see where they are heading off to now. They have a busy summer planned and are going everywhere. I love the fact the guys have this demand and fanbase but also hope that they can recharge and get back into the studio very soon. Their current single, Mercedes Marxist is a typically bold, enflamed and rich song that leaves impressions in the mind. In a scene with many false idols, I do think that the Bristol band is leading the way. Their music deftly mixes humour with intelligence; seriousness and pathos with something indescribable. The guys are a force to be reckoned with and have shown just what they are made of on their latest cut. I wonder whether this is the sign they are brewing a new album and what that might contain. Only last year did they release their second album, Joy as an Act of Resistance, so there is no rush to get something new out into the world. I know they are going to be busy with touring and there is no end in sight. They have been playing all over the world and really buzzing from the response they have garnered. So many people want to bond with IDLES and throw love their way. I am sure there will be more material coming this year and, whilst another album might not arrive until 2020, there is always something happening in the IDLES camp. The boys are funny and accessible when they are interviewed and always drop pearls of wisdom. They are a band that we all need to embrace and follow closely. The music they are putting out has real truth and inspiration and they are as real as anyone out there. Damned to the critics and jealous peers who lob offence and scepticism their way! We need to support IDLES as much as possible because they are throwing out this incredible music and have a lot to say. If you get a chance to listen to any of their interviews, I recommend you do so. Joe Talbot especially is very bright and engaging and you always learn something when he speaks. I do think IDLES have a very bright future and there is no telling how far they can go. With more music and increased tour demands, they are traveling the world and reaching new lands. Their music has enriched so many lives and is speaking to people in a very real and important way. Whereas our politicians cannot sort things out and give us hope, IDLES are here to cut through the crap and deliver something meaningful, direct and compassionate. This is what they are all about and for that we thank them! Check out Mercedes Marxist and, if you can, go and see them perform live. I am not sure where they are heading next and what will come but, knowing IDLES, it is likely to be…

TRULY spectacular.

___________

Follow IDLES

 PHOTO CREDIT: Jenn Five

Facebook:

https://www.facebook.com/idlesband/

Twitter:

https://twitter.com/idlesband

Spotify:

https://open.spotify.com/artist/75mafsNqNE1WSEVxIKuY5C?si=5NZWJx--RtKOrzjAmWde-Q

Instagram:

https://www.instagram.com/idlesband/

YouTube:

https://www.youtube.com/watch?v=IoxivC5GVAU

UNCREDITED PHOTOS:

IDLES/Getty Images

INTERVIEW: Finding Kate

INTERVIEW:

Finding Kate

___________

BRINGING us near the weekend...

is Finding Kate, who has been telling me about her latest single, I Feel Bad. I ask what inspired the song and whether more material is coming; if her Greek and Cypriot roots inspire her music and which albums she counts as favourites.

The songwriter reveals gig plans and whether she has other plans for 2019; if she gets much time to chill away from music and the rising artists we need to be aware of right now – she selects a great track to end the interview with.

____________

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

Hey, Sam. All good, thanks! How about you? This week has been super-hectic. I’ve just released my new single and I feel pretty overwhelmed, stressed; happy and excited at the same time! Haha.

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

My name is Finding Kate and I am a singer/songwriter based in London. My music is Alternative/Rock with undertones of Pop. I would describe it as melodic, emotional and dark yet commercial. In 2016, I released my debut album, If I Fall, and have played lots of shows in the U.K. and Cyprus since then.

I have just released my new single, I Feel Bad. Yay.

What can you tell me about the new single, I Feel Bad, regarding its story?

I Feel Bad is one of my newest tracks I had written about a year ago. I sat down on the piano and the chorus just blasted out of me: same exact melody, lyrics and chords as it is now. It’s a song I hope a lot of people can relate to! I mainly wrote it as a ‘f*** you’ to people/relationships that pull me down or hold me back. It’s about feeling that pain after a relationship is over but also feeling a sort of relief. This track has feelings of anger, sorrow; pity and forgiveness all in one.

Is there likely to be more material later in the year?

Yes, definitely. I am currently sorting out all my tracks with my producer. I have a lot of material ready; some are at demo stages and some are at a solid level ready for recording!

Can you remember what pushed you to get into music? Did you always know it is where you wanted to be?

I think the fact that I grew up in a very musical household pushed me to get into music. I know I keep saying it in every interview, but I grew up listening to so much music because of my dad. We mostly listened to Rock, Alternative and Metal and I am so grateful I was brought up with some of the best bands such as Pearl Jam, Bon Jovi; Stone Temple Pilots, Live and newer artists/bands like Avril Lavigne, Evanescence; Linkin Park, P!nk etc. I think I was about ten/eleven years old when my parents discovered a piano tutor’s flyer on the car and we decided I would try out some piano lessons! Then immediately after I also started singing lessons and then, after that, the rest is pretty much history! I knew I wanted to be a singer and that was it for me.

 PHOTO CREDIT: William Pavli Photography

You have Australian and Cypriot roots. Does that play a role regarding your music and sound?

This is a cool question. I think the Cypriot roots definitely bring a different vibe to my songwriting. I didn’t listen to a lot of Greek music growing up but I used to listen to a few artists/songs which definitely influenced me in one way or another. My producer and I actually laugh at some of my vocal melodies/licks that I do as they have some very Greek influences at times! I wouldn’t say either of these countries plays a huge role in my sound but they definitely help shape me into the artist I am today.

What plans do you have for the rest of 2019?

My plans are to promote I Feel Bad as much as I can by playing lots of shows all around the U.K. I have some great shows coming up and looking forward to supporting some bigger names, hopefully, in the near-future. Then, I am aiming to release a few more singles and build momentum!

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

I have a few standout memories, but the one that I cherish the most is probably the Cyprus Has Talent competition in 2012! I won the Junior section and that’s sort of where my ‘career’ started. I was introduced to Chris who I’ve been working with for the last few years and I met some really great people through that competition.

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

Picking three albums is so difficult! AAAAHHHH.

Let Go - Avril Lavigne

This is one of those albums I will always, always treasure. So many songs speak out to me to this day! It’s crazy how relatable her lyrics were and still are. I love all the songs and I think the production is sick - especially on Losing Grip, Unwanted; Naked and I’m with You. Avril will always be a huge inspiration to me. I remember locking myself up in my room and singing along to every single album of hers. I had a little portable C.D. player and, after buying her first three albums, I used to sit there reading her lyrics and doing sing-alongs to her entire albums! Every single song, over and over again. Haha. Let Go holds a special place in my heart for its simplicity and honesty.

The Open Door – Evanescence

I always loved all of Evanescence’s albums, but this one is probably my favourite. I think it has some of their best work on it and some of my personal favourite tracks. I love the vibe, aesthetic and feeling of this album; it really resonates with me. I also love the album artwork - Amy looks stunning in that dress!

Nothing But Thieves - Nothing But Thieves. Their debut album title speaks for itself. Nothing But Thieves is exactly what Nothing But Thieves are about. It’s alternative, atmospheric; powerful, exciting; sad and beautiful…and Conor’s voice is otherworldly. No, seriously, one of the best male vocalists I have heard. I just really, really love this album.

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

I’d love to support Evanescence! I’ve never had the option to choose my own rider: I’m usually lucky to get some free beers at a show. I think some sushi would be good. Haha. To be honest, I have no idea what I’d request; I’ll cross that bridge when it comes (smiles).

What are your other plans regarding gigs/touring?

I have my single release party on 17th May in London at The Monarch which I am super-excited about. My next London show after that is the Amplified Festival live finals on the 28th June. If I get selected on the night, I will get the chance to play at Amplified Festival, so fingers crossed!

I’ve also got two shows with Hands Off Gretel which I’m really looking forward to - one is on 22nd June in Southampton and the other is on 6th July in Brighton. Besides that, I am in the process of contacting venues and hoping that I will get some more support slots coming up soon. Keep your eyes peeled for my updates!

Is the stage somewhere you feel at your most alive?

Yes, definitely. I love singing and I love looking into a crowd of people who are there to support live music. I can totally be myself on stage without being scared of what people think of me. I love playing with incredibly talented musicians who have an amazing vibe on stage. Every show has its own beauty. Of course, I still get stressed before some shows. They don’t always go smoothly and the sound isn’t always great but I always make the most of it when I am on stage.

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

Yeah! Just keep going. Don’t stop. You have to work hard to make your dreams come true and, most of the time, you have to be the one to get sh*t done. It sounds a little scary, but if you have a vision and you know what you want, go out there and get it. Believe in yourself and be prepared to have a lot of ups and downs. Build a team around you if you can: producers, musicians; photographers, videographers; designers, managers and have a good relationship with them. We all need a hand sometimes and having people who also believe in you and see your vision will really take some weight off your shoulders. I personally do a lot on my own as I like to have control and know what I want but I still have professionals to help me out. I can’t do everything; I’ll go mad if I try.

The BEST advice I can give you though is always follow your instinct and believe in yourself. Stay true to your vision and goals. Your team might crumble, your manager might leave; your label might drop you but, if you believe in yourself, that’s all that matters.

 IN THIS PHOTO: Hands Off Gretel

Are there any new artists you recommend we check out?

Yes! My friends in Hands Off Gretel are absolutely amazing. You might have already heard of them. Highly Suspect are already pretty big but I think you would like them a lot. Also check out the amazing Halflives and Izzy Thomas.

 IN THIS PHOTO: Highly Suspect

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

Honestly, I don’t get much time to chill away from music! If I’m not working on new songs, I am usually working on my social media, marketing; designs, website; shows and fifty other things! But, when I do get time to chill, I love watching T.V. series and eating (haha).

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).

Keep Lying - Donna Missal

___________

Follow Finding Kate

Official:

http://www.findingkatemusic.com/

Twitter:

https://twitter.com/findingkate

Facebook:

https://www.facebook.com/FindingKate/

Instagram:

https://www.instagram.com/iamfindingkate/

Spotify:

https://open.spotify.com/artist/3hoH20ylDJSaRmZj3I3mCh?si=jEus8pIfTW6Yoz7ivD_lmA

YouTube:

https://www.youtube.com/c/findingkate

FEATURE: Female Icons: Part One: Kate Bush

FEATURE:

 

 

Female Icons

PHOTO CREDIT: John Carder Bush 

Part One: Kate Bush

__________

IT has been a bit of a strange week in general...

 PHOTO CREDIT: Chris Moorhouse/Evening Standard/Hulton Archive/Getty Images

what with one thing or another. Two British football sides, Liverpool F.C. and Tottenham Hotspur F.C., have made the final of the Champions League after trilling and unlikely comebacks (the media have dubbed both reversals ‘miracles’ but that belies sheer determination and, worryingly, suggests God had something to do with it!). Danny Baker has just been fired by the BBC and, elsewhere, there is the usual assault of political ineptitude and anger. It is my birthday today and, whilst I should be taking things easy, I am compelled to, once more, put Kate Bush onto the page. I should really stop promising each time – I don’t know why I do it – that this will be the last time I’ll post anything Kate Bush-related for a while. I love writing about her and, in a music world where there is nobody like Bush, it is always brilliant pushing her music to new people. I am always writing about sexism and gender inequality in music and, in a year where there is no sign of improvement and more cases of festivals ignoring women, we would do well to remember all the iconic women who have pushed music to where it is now. In future instalments, I will look at everyone from Madonna and Aretha Franklin through to Joni Mitchell and Beyoncé. It is a wide remit but I wanted to start with Kate Bush because, to me, she is the epitome of the unique and ever-striking artist.

Before I talk about my experience of Bush and why her music connects so hard, one cannot accuse her of being idle and sitting on her hands. Since 2011’s 50 Words for Snow – her most-recent studio album – there has been some movement. In fact, a lot of her more recent activity has been retrospective and focused on her past. Director’s Cut, released in the same year as 50 Words for Snow, saw Bush rework some of the songs from her albums, The Sensual World and The Red Shoes. If not completely essential, that album did give Bush the chance to ‘correct’ some of the issues with songs that were recorded as digital technology was coming through. In 2014, out of nowhere, she announced a residency at Hammersmith with her show, Before the Dawn. It was only the second big live project of her career. In 1979, her only tour, Tour of Life, happened; taking her around the world, it was a masterclass in progression, ambition and theatre (watch this great documentary regarding the process). Thirty-five years later, Before the Dawn gave fans a chance to see her back on the stage, where she performed some of her best-known songs in addition to the song cycles from Hounds of Love (1985) and Aerial (2005). Last year, Bush released a book of lyrics, How to Be Invisible, and re-released/remastered her back catalogue.

Like any self-respecting Bush fan, I have snapped up as much of this remastered material as possible and revelled in the vinyl goodness of her masterful work. Whilst the last four or five years has largely been about looking back and, in a sense, fulfilling long-held demands and dreams (for fans at least), we look forward and wonder where she will head. 2011’s 50 Words for Snow was a critical success and a lot different to her earlier work. Rather than rely on tighter songs with emphasis on the voice, the songs (on 50 Words for Snow) were longer and boasted, I think, richer compositions. Alas, the new direction was a welcomed one and I feel, when new material does come, it will most likely sound similar to this rather than her earlier days’ material. So, then, when is a new album to come? With Bush, it could be anytime and arrive in any format. It is not going to be similar to Madonna and how she is parcelling-out her latest record, Madame X: lots of tweets, photos and offerings drip-fed and gradual. Bush will announce the album and then, maybe, a single will come out and that will be it until the record arrives. I have a bit of a knack for predicting when certain artists will release new albums – I got Madonna pinned with Madame X – and I have a feeling that Bush will release something in the autumn/winter (I might be wrong but it has been nearly eight years since her last studio album so one holds hope). Why rank Bush as a female icon of music?

 PHOTO CREDIT: John Carder Bush

Just look at her influence and how she has impacted music since her arrival in 1978. One can draw a line from Bush to everyone from Tori Amos, Madonna; Björk, St. Vincent and Florence Welch (Florence + The Machine). All of these women have elements of Kate Bush and each are fiercely creative and powerful. Think about all the accomplishments and ‘firsts’ Bush has been responsible for. The aforementioned Tour of Life was a masterpiece that, with little bits of David Bowie added to the theatrical mix, it set a high standard of what a live performance could be. Including mime, scene changes and this immersive world, critics raved. Although she has not toured since 1979, her sole tour inspired countless artists in terms of performance scope and ambition. Bush helped invent the wireless head-microphone (used, famously, by Madonna) and her albums have broken records. Her debut single, Wuthering Heights (her only number-one), eventually made its way to the top of the charts and it meant, in 1978, Bush became the first British female to have a self-written song reach number-one. Her third album, Never for Ever, was the first number-one album by a British female artist. It is amazing to think it took until 1978 (1980 in the case of the album) for these records to be broken - but it gave impetus and inspiration to other women in the music industry. There are other reasons why Bush should be considered iconic. I listen to interviews (including gems such as this and this) she conducted through the years and you get this very warm, intelligent and compelling woman speaking so passionately. Her visual aspect and love comes out through her album covers, videos and live performances.

I have talked about Bush’s sole tour and her 2014 residency and all the brilliance she brought to the stage. Her album covers are consistently striking and original and her videos, more than anything, show what a wonderful eye she has for film, story and memorable moments. There are countless golden videos one can source but Wuthering Heights – where she wore a white dress and performed a beguiling dance (she wore a red dress for the U.S. version of the video) – stands out. The first video I saw of hers was for Them Heavy People (from, like Wuthering Heights, her debut album, The Kick Inside). The quirky and charming video beguiled my young mind. She grew more ambitious visually in-tandem with her sonic evolution. Hounds of Love’s Cloudbusting, Running Up That Hill (A Deal with God) and The Big Sky are all unique and utterly wonderful. I especially love The Big Sky because it is so busy and colourful (there is one moment, at 0:40/0:42, where she gives the most beautiful smile you could ever imagine!). Bush has stated, in numerous interviews, how much she loved film and T.V. She has directed some of her own videos (including The Big Sky) and has created some of the most memorable videos of the past four-or-so decades. When it came to be being captured in front of the camera, there have been countless poses and looks that have stopped the heart. Whether being photoed by the press, an associate or her brother, John Carder Bush (I suggest you get his book of photos, Kate: Inside the Rainbow; also check out Graeme Thomson’s wonderful biography, Kate Bush: Under the Ivy), you just know Bush never phoned it in: every photo was a chance to be seen in a new light and provide something amazing.

Kate Bush is a complete artist and one who has always been fiercely independent. Right from the off, she knew what she wanted and trusted her own instincts. Famously, she fought her record company to ensure Wuthering Heights was released as a single. They relented. She also battled to have The Man with the Child in His Eyes as the next single. Again, they trusted her determination. As a teenager, new to the world of professional music, one would not expect such fight and exertion from an artist regarding their single releases. One does not see much of it these days but I know there are artists out there who have taken a Bush-like approach regarding their work and ensuing they are heard – rather than the record label having too big a say and releasing a single because it is more commercial-sounding and radio-friendly. Indeed, one could detect a seriously passionate voice and soul from the off. On The Kick Inside, Bush was unafraid to talk about sex in a very bold and open way. Men, throughout her career, were never cast as villains or accused: instead, they were seen as objects of desire and, as a curious artist, Bush wanted to explore men/sex in a very personal way. She discussed menstruation (Strange Phenomena) and incest (The Kick Inside); a grown man with an innocence inside of him (The Man with the Child in His Eyes) and the power of movement and dance (Moving) – uncommon back in 1978 but one feels doors were opened and minds altered by this very brave and unique artist.

 IMAGE CREDIT: Getty Images

Maybe there was a feeling from some, early in her career, that the songs were not addressing themes as big as war and politics. Even though her songs of love were hugely sophisticated and, at times, risqué, she did widen her horizons by the time of 1980’s Never for Ever – standouts Breathing (about nuclear war as seen from the perspective of a fetus) and Army Dreamers (about the waste of war and how young soldiers march to their deaths) were a world away from earlier tracks about love and desire. Many people focus heavily on Bush’s sublime voice and ignore her words. Buy her lyrics book, How to Be Invisible, if you can to see just how imaginative, creative and varied her lyrics are. At a time when a lot of mainstream artists were writing about love in a very ordinary way, Bush was proving to be an exception. Right from her debut album, you just knew there was nobody like her. Consider that some of the songs on The Kick Inside were written as young as aged thirteen (or a smidge earlier than that) and it seems scary she was that accomplished that young! Everyone has their favourite Kate Bush album and, to many, that honour belongs to Hounds of Love. I can see a case for the 1985 release being at the top of the public consciousness. In terms of confidence and quality, one cannot fault a moment on the record. In the summer of 1983, Bush moved out of London, set up a home-studio and took inspiration from her surroundings.

It was a pivotal and important move after a period of time that took a lot out of her – 1982’s The Dreaming was her first sole-produced album and, given its complexities, took a while to get made; she felt burned-out at the end - and a comparative lack off critical acclaim got to her. The Dreaming is this wildly eclectic and bold album overloaded with texture; 1978’s Lionheart was a bit of a rushed affair but contains some brilliant moments; The Kick Inside, as I shall explore later, is this wondrous and timeless debut. Not every song she touched turned to gold but one can detect conviction and passion in every move. The Dreaming is often seen as too out-there (even for Kate Bush!) but contains some of her best work to that point (Houdini and Get Out of My House, especially). Never for Ever is an underrated gem whilst her post-Hounds of Love work have plenty of brilliant moments. Bush herself loved Aerial. The double-album has a very natural feel. Songs, literally, talk about nature and birdsong; there is this very open and conceptual arc that immerses the listener and is miles away from something like The Dreaming. 1993’s The Red Shoes was the last album before a twelve-year gap but, despite it being a difficult period – her mother died around the time the album was released and she split with her long-time beau, Del Palmer (who still engineers her albums); poor reviews and an ill-fated short-film, The Line, the Cross and the Curve, all contributed – there were some wonderful songs in the pack (Rubberband Girl, the opening track, is one of the most buoyant and uplifting songs she ever released).

 PHOTO CREDIT: John Carder Bush

What else to cover? I have covered the music itself and the lyrics; the wonderful videos and entrance than Bush provides. Many bemoan the amount of time it takes between albums. Consider if they were rushed or released quicker. One would not get the same quality and, as Bush has said, she writes very quickly but the actual recording takes longer. She has not performed a lot but, again, if she did that then we would not get as many albums. It is a hard balance but the sixty-year-old wants to make work at her own rate at her home-studio. She has a son, Bertie, and there is not the same pressure as there was in the first few years of her career – don’t forget that from 1978-1980 she released three albums, embarked on a worldwide tour and was constantly under the media’s gaze! I have sort of skimmed through her back catalogue but, in addition to me including an ‘essential’ list of Kate Bush songs in the playlist at the bottom, I urge people to check her music videos and, as much as they can, buy her records and experience the music in its truest, warmest form. Bush is someone who love vinyl and the tactile nature of an album. You just know that she takes every care to ensure that the finished record we receive is as good as it can be; that the sound is perfect and she has sweated blood and tears to ensure it is up to her standard.

Kate Bush is an icon because of how she has changed music and all she has achieved. Her influence is clear and ever-growing and you cannot compare anyone to her. Most legends sort of get reinterpreted by future generations but there hasn’t been anyone who has got close to updating Kate Bush or touching her quality. That is no slight to them: such is the power and brilliance of her music that it is unlikely we will ever see anyone like her again. Before getting around to my final point, I guess all I love about Kate Bush can be found in her debut album, The Kick Inside. Although she has, to an extent, distanced herself from the album (she felt it was a bit airy-fairy and not as raw/masculine as she’d like; she wanted to have more control and feels her later work is better), I think it is a phenomenal work. Not only is her voice at its most beautiful and tender; the songs are so bold and confident for a then-teenager. Anyone who can self-write every song and tackle subjects as unusual and hefty as incest; talk about love and sex in a very fresh way should be congratulated. The Kick Inside is my favourite album ever and the one I come back to time and time again. It makes me feel warmer and safer and, in a world that is becoming more unsure and tense, we need music that can provide support and escape! The fact of the matter I that all of her albums mean something different to everyone. I love Hounds of Love for my own reasons and we all have that different connection to Kate Bush.

 PHOTO CREDIT: Chris Moorhouse/Getty

It has been a bit of a quiet spell for her – in terms of new material – but one feels it cannot be too long before an announcement of fresh material is out…don’t quote me on that as I have no super-powers at all; it is more a feeling, you know! Anyone who feels Bush is publicity-shy would do good to aquatint themselves with the interviews she gave in 2011 – for Director’s Cut and 50 Words for Snow. Most of the telephone interviews were with radio stations in North America whereas, when speaking with BBC presenters (this video shows that, where her and the BBC are concerned, there is this mutual love), most of the interviews were conducted at her home. Check out her interview with Mark Radcliffe about Director’s Cut and 50 Words for Snow. He had long-campaigned to have Bush on his show (he spoke with her, both times in 2011, as part of BBC Radio 6’s RadMac afternoon show, I believe) and speak with her and, when he first spoke with her in 2005 to promote Aerial, that long-held ambition came true! I love the interview Lauren Laverne conducted with her in 2011 (for 50 Words for Snow). She asked some truly great questions and there was a great, respectful rapport between them. Ken Bruce’s interview for Director’s Cut is also sublime. She has given BBC Radio 4’s John Wilson a couple of interviews and spoke with him about Director’s Cut and 50 Words for Snow (and in 2005, too) – again, like Radcliffe and Laverne, there is this very natural connection between them (listen to Jamie Cullum talk with her about 50 Words for Snow). Listen, also, to Matt Everitt talking with Bush about her residency, Before the Dawn, in 2016; the chat is the most-recent audio interview we have and sees her react to this monumental event (the album of the live shows was released in 2016).

 

There has been this near-eight-year gap between 50 Words for Snow and now…and we are all waiting with baited breath to see if anything will arrive this year. I have spoken to so many musicians, male and female, who count Kate Bush as an idol and follow in her footsteps. Over forty-one years since her debut album, she is still affecting artists and stunning the senses! I make no secret that one of my dreams is to interview Kate Bush. I know I would need to work for the BBC or have a bigger platform to get that opportunity and, when another album comes out, there will be a huge clamber to get Bush featured on everyone’s site/station/magazine. She commands this respect and love without having to put out an album every year. Who would want that sort of consistency if it meant a deterioration of quality?! When speaking with Matt Everitt in 2016, he asked her whether this (the live shows/album) was a full-stop. She, brilliantly, responded that it was more of a long comma. Quite. We have seen activity from her since then but nothing in the way of a new album. When she does release a new album, there will (we hope) be the slew of interviews and, whilst I will not be among the lucky asking her questions, it will be great to see what she has been up to and where her creative dial is now.

 PHOTO CREDIT: John Carder Bush

So many of us grew up around Bush’s music and hold similar memories (who among us cannot count the Wuthering Heights video as a truly landmark realisation?!). I shall leave things here – there is birthday cake to be eaten! – but it is undeniable that Kate Bush is an icon and peerless artist! At a time when we struggle to overturn gender inequality and sexist attitudes, those in power should look to artists such as Kate Bush and appreciate all they gave us. There is a new generation of female artists emerging that owe a debt to pioneers such as Kate Bush and are being denied the chance to play on big stages because of rigid and close-minded festival organisers.

IMAGE CREDIT: Getty Images/ALBUM COVER: John Carder Bush

Maybe this is an aside but I do feel like these iconic female artists have done so much and now, when female artists are king, the new generation are being held back. I wanted to start this feature to spotlight some of the iconic female artists who have given so much to music; who have inspired so many artists and continue to exert influence years down the track. Kate Bush is definitely among them and I cannot wait to see where she heads next. Knowing her and her music, there is no real telling what an album will sound like and what direction it will take us. There is no real rush but, in a world where there is so much negative music and a lack of real joy, the beauty and wonder only Kate Bush can provide…

IS sorely needed.

FEATURE: Joni Mitchell’s Woodstock: Both Sides Now

FEATURE:

 

 

Joni Mitchell’s Woodstock

PHOTO CREDIT: Jack Robinson/Getty Images  

Both Sides Now

__________

I do not often look at songs and their cover versions...

 IN THIS PHOTO: Joni Mitchell in 1970/PHOTO CREDIT: Getty Images

but there is something about Joni Mitchell’s Woodstock that compelled me to investigate further! It is quite apt timing, really: Woodstock 50 (the fiftieth anniversary of the original Woodstock) is in the news and many are wondering whether it will happen at all. A lot of festivals are beset with issues and drawbacks but it seems like this one might not occur. It is a shame because, even though the line-up announced so far is not terrific, marking a truly terrific point of history is necessary. I was not alive when the original Woodstock occurred back in 1969 but that sense of coming together in a three-day festival of peace and love was very much needed. Not that Woodstock was free of any problems itself. There was a bit of violence and upset; there were problems with people sneaking in and a few blacker moments did threaten to ruin what was an otherwise wonderful celebration – including the dreadful weather. This happens at festivals now so we cannot see Woodstock as a disaster. A few big acts turned down invitations to play but we did see the likes of Joan Baez, Santana and The Who played. Despite some declined invitations and problems that arose during performances across the three-day festival, Woodstock has gone down as this iconic moment in music. It is a bit ironic that a song about the festival was written by someone who did not actually attend!

Joni Mitchell’s Woodstock was included in her 1970 album, Ladies of the Canyon, and is regarded as one of her finest songs. The story goes that Mitchell composed the song based on recollection and stories from her then-boyfriend Graham Nash. Mitchell’s manager had told her not to attend Woodstock – instead appear on The Dick Cavett Show – and, instead, the songwriter composed the track whilst watching images from Woodstock on the T.V. Mitchell felt that the fact she had been denied the chance to go/play gave her a unique angle. One can hear that sense of detachment but, as many noted, Woodstock seemed to articulate the feeling and essence of the festival better than anyone who was actually there! Not affected by the poor weather and technical blights, Mitchell penned this fantastic track from a comfortable and warm room. She was seeing all these wonderful images pour through and, clearly inspired, laced together some of her most evocative and beautiful words. In Woodstock, Mitchell told about a spiritual quest to Max Yasgur’s farm (where the festival was set); the festival was compared to the Garden of Eden. Mitchell brought in religious images and provided this grand, stunning song that definitely stays in the mind. When the army reaches Woodstock (“half a million strong”), you get a real sense of the togetherness and love that was in the air in 1969. The festival was a reaction to the Vietnam War and all of the tensions that were happening at the time.

Mitchell articulated the contrast of the war and the reaction by the American people – bombers flying in the sky; they turn to butterflies when faced with the peace and good vibes from the people. Mitchell is known for her incredible lyrics and ability to swim in the imagination. Whether something more unsettling and emotional or a song such as Woodstock; there are not many songwriters who have such an ability and variety. Mitchell would grow to dislike large festivals and what they stood for but here, on the Ladies of the Canyon track, you feel like you are at the festival. The song was the B-side to Big Yellow Taxi and, as B-sides go, there are few stronger in the music archives! I love the original and think that Mitchell’s delivery perfectly highlights key phrases and images. There is a great, wordless vocal in the chorus (in the background) and her voice rises and falls with emotion. It is a fantastic rendition but, like all inspiring songs, there have been some other renditions. Perhaps many associate Woodstock with the cover performed by Crosby, Stills, Nash & Young. Around the time Mitchell’s Ladies of the Canyon was released in 1970, the Folk group released the song as the lead-off single from their album, Déjà Vu. Stephen Stills takes the vocal lead and is joined on harmony vocals by David Crosby and Graham Nash. They bring new life and insight into the song and, as I will explain in a second, the chorus reinterpretation is something that is particularly memorable. Crosby, Stills, Nash & Young had this stop-start instrumental in the chorus that gave it fresh nuance and delight.

My favourite interpretation of the song came from Iain Matthews’ Matthews’ Southern Comfort. The former member of Fairport Convention, again, brought something new to the classic song. It is strange to think that the band were pretty much through by the time Woodstock was recorded. Their version was released in 1970 – two great covers so soon after the original showed what an impact it had! – and was included on the U.S. version of the album, Later That Same Year. The reason the song became a hit was, when the band were due to perform a live set for the BBC in 1970, they needed an extra song. Matthews had just heard Woodstock on Ladies of the Canyon after buying it a week earlier; it was included in the set and, before long, there was huge demand. Matthews was reluctant to include it on the recently-released album from Matthews’ Southern Comfort but agreed it could be released as a single – their version of Woodstock became a huge smash! It is also said that Matthews felt a bit strange meeting Mitchell because of how he approached the song. Like Crosby, Stills, Nash & Young, the arrangement was very different and Matthews, by his own admission, could not hit the high notes Mitchell did on the original. Mitchell confessed to preferring Matthews’ arrangement and melody. The band took the song apart and really gave it another angle.

 IN THIS PHOTO: Hippie girls at 1969’s Woodstock/PHOTO CREDIT: Getty Images

It seems strange that two covers were released in such short succession but Crosby, Stills, Nash & Young’s version did not resonate that hard. Many people prefer their version but it was not a huge success. Matthews’ Southern Comfort’s version reached number-one in October 1970 and remained there for two weeks. By the time the song gained U.S. plaudit in 1971, Matthews’ Southern Comfort were no more. Matthews quit the band in December 1970, claiming that the success of Woodstock had affected him. Rather than getting on with a new track, the interviews and press demands were getting too much. There was also an infamously bad soundcheck in Birmingham where Matthews left, took a train home and locked his door for a week. This all suggests a man who resented Woodstock and what it did to his life. In an interview in 2017, Matthews stated that it was an exciting time (1970) and the song is still creating opportunities for him today. That is wonderful to hear and, actually, I think I prefer the Matthews’ Southern Comfort version! I love the original and its terrific chorus vocals; the way Mitchell treats every line for passion and consideration. It is a spellbinding performance that has half of your mind at the festival as things unfold and the other with Mitchell as she watched the images come through – able to describe the essence and power of Woodstock without having to endure the crowds and the unpredictable weather!

 IN THIS IMAGE: The cover of Joni Mitchell’s album, Ladies of the Canyon (1970)/PHOTO CREDIT: Getty Images

Matthews’ Southern Comfort sort of got rid of the high notes and the vocal acrobatics. Their version was straighter and relied on those sumptuous harmonies. It is a fuller rendition that is perhaps more reliant on vocals than punctuating the lyrics. All versions of Woodstock have a dreaminess and richness but I do love Iain Matthews’ take. His voice takes Joni Mitchell’s words in new directions and soothes the soul. Many purists favour the original but it is great that there are other versions out there. It is clear that the song held immense power back in 1970 and seemed to articulate a spirit that was in the air at the time. It is worth reading this paper that explores Woodstock and its creation: the background to Mitchell writing it and what messages it conveys. Indeed, Mitchell strayed away from political implications and lot of the protest song at the time. Instead, we have this Utopian vision of Woodstock. There are nods to bombers in the sky but there is this spirit of peace, masses converging to a wonderful place and everything being fine. This passage from Amy Kintner’s study seems to define what Woodstock was and stood for:

“She chose to create a musical realisation of the aura and idealism of Woodstock, and the political utopianism she achieved lies in her refusal to simply memorialise the festival or proclaim its political efficacy. The song succeeds as an evocation of a generation’s utopian impulse, and Mitchell’s musical choices propel ‘Woodstock’ beyond the facts of the event itself because the song is not about the event itself. The lyrics may conjure sentimental memories for those who attended the festival, a fact of which Mitchell was surely aware, but the music of the song promotes nostalgia of an alternate kind: nostalgia for the utopian naïveté of a hopeful generation and its political dreams…

‘Woodstock’ summons this nostalgia and breathes life into it, offering a sonic utopia in which the dreams of a hopeful generation can continue to thrive. This is ‘Woodstock’s ideological deviance, its utopian legacy: just as ‘Woodstock’ helped transform its originator from excluded fan to arbiter of utopianism, so too does it transform its listeners. Here, we can return to the designation of Mitchell’s song as existing in a liminal (or Foucault’s heterotopian) space: while the song plays, the experience of ‘Woodstock’ as a transitional boundary or marginal space becomes available to listeners. The song both can and cannot take a listener back to the summer of 1969 but, alas, no matter where ‘Woodstock’ takes you, the song is an experience that comes with all the characteristic trappings of utopia: simultaneously a ‘good-place’ and a ‘no-place’, the song sounds forth and dissipates immediately, presenting a musical utopia in which Joni Mitchell, other musicians and, indeed, perhaps even historians can dwell, if only for five peaceful minutes”.

One can talk endlessly about Mitchell’s classic and what it represents. Maybe it is nostalgia of a wonderful time or the idealisation of a festival that, in spite of all the good and glory, has problems and has not been repeated. As we try to resurrect the bones of Woodstock 50, Mitchell’s Woodstock is a sad reminder of what was and what could never be. Maybe Mitchell’s disconnection from the festival and personal view is not a wholly accurate representation of Woodstock’s reality but one cannot fault the gravitas of the song. If you prefer the original and do not fancy the cover versions, one cannot deny how influential Woodstock is and how its Utopian visions struck Mitchell’s contemporaries in 1970. It is a song that moved the people back in 1970 and, almost fifty years later, its incredible aura and wonderful images…

INSPIRE and stagger the senses.

FEATURE: Piano Man: Billy Joel at Seventy: The Ultimate Playlist

FEATURE:

 

 

Piano Man

PHOTO CREDIT: Getty Images 

Billy Joel at Seventy: The Ultimate Playlist

__________

AS the iconic Billy Joel...

 PHOTO CREDIT: Getty Images

turns seventy tomorrow, it is only right to mark that occasion and, in doing so, collate his very best and most memorable songs. I grew up around his music and it was introduced to me at a very young age. We both share a birthday so I felt I just had to do something! Whilst Joel is not releasing albums anymore, he has left the world so much brilliance and genius moments. From Cold Spring Harbour in 1971 to 2001’s Fantasies & Delusions, the Piano Man has definitely captivated and delighted fans for many years (he is, as this recent article shows, still in fine fettle!). His songs are part of the musical fabric and we all have our favourite (track) of his! Here, to honour the great man turning seventy, is a collection of his very best moments. If you are unfamiliar with Joel’s music then make sure you have a good listen. He is a legend of music who, as he enters his eighth decade of life, proves he is one of the greatest songwriters…

 PHOTO CREDIT: Jesse Dittmar

WE have ever seen.

INTERVIEW: The Seige

INTERVIEW:

The Seige

___________

IT has been cool speaking with The Seige...

about their latest track, I’m Coming Home, and what its story is. I ask what inspired their album, Duality, and whether there are any tour plans in the works – and whether the L.A.-based duo are coming to the U.K. at any point.

I discover which music memory stands out from the pack and what sort of music the guys are influenced by; whether they get chance to chill away from music and what advice they’d give to artists coming through – they both pick great songs to end the interview with.

____________

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

Been a good week so far. Can’t complain.

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

Taz Conley, the rapper and Riley Taylor, the producer. Just two dudes from two different walks of life who love music and create with one common goal: to push our own limits and inspire others to do the same.

How did The Seige begin life? Do you recall the moment you met?

We would frequently be in the same place at the same time due to us having a lot of mutual friends. We never worked together back then; kind of had our own individual sh*t going on but, one day, I (Taz) needed someone to help me flesh out some of the tracks I had been working on…so I reached out to Riley who did such a good job bringing my ideas to life.

We just decided to make a band out of it.

What is your new single, I’m Coming Home, all about? What inspired it?

I’m Coming Home is a story about what an individual will do once they are counted out. It’s a revenge story of sorts with success being the best revenge of all. We pulled inspiration for the song from our past lives and relationships; old girlfriends who did us dirty or friends who weren’t loyal.

It is from the album, Duality. What themes inspired the songs?

I’m Coming Home is on the second half of the album. When we were working on Duality, we were really inspired by techno-cyberpunk themes, science fiction movies like Bladerunner and The Matrix and the duality between that world and the natural world of nature, animals and biology. The ultimate duality; where we are all headed as a human race and playing around with ideas on how the fast movie tech of today will affect us in the future.

Did you both grow up around different artists or do you share musical tastes?

We both grew up on a bunch of different types of music and have very eclectic tastes. We generally gravitate towards the same kinds of music today; from Rock and Rap to Jazz music. Just don’t give us any Country.

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

A lot of the syncs we have been getting are really somewhat of a dream come true for both of us. We both grew up playing video games and watching sports and always dreamed of having our music on T.V. and in some of our favourite games. So, it has been crazy to watch that unfold in our lives.

We’ve gotten syncs with the NFL, the NBA; big movies like Mission Impossible and in T.V. shows like Cloak & Dagger. Massive games have even used our songs: Fortnite, FIFA and Madden. Seeing something happen that you’ve literally dreamt about since you were a kid is something truly special.

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

Our most recent one, Duality, definitely means the most to both of us because it’s really some of the best music that either of us have made…and it’s a culmination of everything we’ve learned and experienced and accomplished in our lives up to this point. Every song we wrote, every sound we created before was just preparation for this project and it means so much to us.

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

We would love to jump on the road with J. Cole, Kanye West or A$AP Mob. Definitely would have to have lots of fruit and water on the rider. And jerky. Lots of beef jerky.

What advice would you give to new artists coming through?

Stay independent as long as you can - and spend every dollar you earn on making yourself better as an artist. Always create honest, positive material and, most importantly, trust yourself and your own intuition.

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

We’re going quiet for the next couple seasons to push out some new sounds and challenge ourselves creatively.

Might we catch you in the U.K. this year?

Wouldn’t that be lovely, mate?

Is touring something you both love doing?

We’ve both been playing live shows ever since we were kids, so touring will always hold a nice comfortable place in our hearts. How could you not love it? Nothing beats going to meet real fans of the crazy music you create. That’s exactly us musicians we do what we do.

Are there any new artists you recommend we check out?

No. Just listen to the The Seige and shut everything else out.

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

We usually stay working but, whenever we get a chance to just kick it, we might catch up on a good book we’ve been into or chill with friend, our girlfriends or travel and hang out with family. Since we both live in L.A., we really enjoy catching some live shows around town or seeing one of our artist friend’s shows.

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

Taz: Wu-Tang Clan – Protect Ya Neck

Riley: Michael Jackson – Workin’ Day and Night

___________

Follow The Seige

Official:

http://theseige.com/

Twitter:

https://twitter.com/TheSeigeMusic

Facebook:

https://www.facebook.com/theseigemusic/

Instagram:

https://www.instagram.com/theseigemusic/

Spotify:

https://open.spotify.com/artist/6Cny0Wt5OKLct1rGOLmu80?si=ELGWdfWwQKCkPHrTf-wzKA

FEATURE: Sonic Proof: Volume III: Tuesday’s Children: Fantastic Artists to Watch

FEATURE:

 

 

Sonic Proof: Volume III

IN THIS PHOTO: Grace Carter/PHOTO CREDIT: ‪SHOT BY PHOX  

Tuesday’s Children: Fantastic Artists to Watch

__________

ON this current outing...

 IN THIS IMAGE: allusinlove/ART CREDIT: Michael Boucher 

I have compiled artists from all around the music globe. These are peeps who are either rising or just under the radar at the moment; some are bigger and more established. In any case, they are all fantastic and deserve a lot of respect. It is amazing how many truly brilliant artists there are away from the mainstream; the sort that is not often featured in the charts – we need to put more focus on these musicians, rather than what is commercial and obvious. Let’s hope that things do change and we get more quality coming through this/next year. This selection of artists, I believe are primed for huge things next year and will be dominating music very soon. I am sure there is loads in this playlist that will tickle your fancy so have a good listen and take in as much as possible. It is an assortment of artists who are perfect as we all make our way…

 IN THIS PHOTO: Marika Hackman/PHOTO CREDIT: Steve Gullick

BACK to work.

FEATURE: Sonic Proof: Volume II: Before the Return to Work: Fantastic Artists to Watch

FEATURE:

 

 

Sonic Proof: Volume II

IN THIS PHOTO: Another Sky/PHOTO CREDIT: Another Sky

Before the Return to Work: Fantastic Artists to Watch

__________

I am doing a few different segments of...

 IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Lauren McDermott

this feature because, so often, there are songs that skim me by and I do not have time to get on top of them. Among the throng today is some beautiful Folk and some tender Soul. It is wonderful mining these great artists and putting them together in a fantastic blend. These are all acts I believe need full attention and will be huge artists very soon. Earlier, I looked at some bright artists that are perfect for the Bank Holiday and, as we prepare to head back to work tomorrow, here is another batch of brilliance that should give you all the necessary sonic and emotional components you need. I think there is so much brilliance and boldness out there in music that, so often, you are overcome by it all. I am going to keep this feature going because there is so much wonderful new stuff popping up. I want to try and get as much as it down as possible! I will do another instalment tomorrow but, for now, here is a playlist to...

 IN THIS PHOTO: Sons of Kemet/PHOTO CREDIT: Pierrick Guidou

GET you jumping.

FEATURE: Sonic Proof: The Bank Holiday Mix: Fantastic Artists to Watch

FEATURE:

 

 

Sonic Proof

IN THIS PHOTO: XamVolo/PHOTO CREDIT: XamVolo

The Bank Holiday Mix: Fantastic Artists to Watch

__________

BECAUSE a lot of us have another day off work...

 IN THIS PHOTO: Squid/PHOTO CREDIT: Squid

there is more time to explore music and chill out. It is always hard to know what to do when there is that day off because you are sort of in unfamiliar territory! I have been spending time relaxing but I know I have to go back to work tomorrow! That is a bummer but, with some hours left, I have been checking out some great new acts that you need to check out. Among the assembled playlist are some great Pop and Soul acts; great Rock and Indie artists and a whole assortment of sounds. It is a variegated cocktail that should keep you uplifted and interested. There are so many great acts out there that many are not aware of; some terrific songs that are bubbling in the underground. I am sure I will do a few more editions but, for today, here is a cool playlist of sounds perfect for the Bank Holiday – showcasing some of the hottest rising acts around. Have a gander at these terrific artists and let all the sensational songs…

IN THIS PHOTO: Robinson/PHOTO CREDIT: Grace Pickering

LODGE in the mind.

FEATURE: The Long and Winding Road: The Beatles’ Let It Be at Forty-Nine

FEATURE:

 

 

The Long and Winding Road

IMAGE CREDIT: Getty Images 

The Beatles’ Let It Be at Forty-Nine

__________

I think every album from The Beatles...

 IN THIS PHOTO: The Beatles during their final photoshoot on 22nd August, 1969/PHOTO CREDIT: Ethan Russell and Monte Fresco

warrants celebration when it has a birthday. In September, Abbey Road turns fifty and it will be quite a sad occasion. Not only was it the final album the band recorded together but it was a superb way to go out. In fact, Abbey Road was released before Let It Be, of course, but you wonder why that was the case. By the time Let It Be came out on 8th May, 1970 (in the U.K.), the band had already split up and many critics were not so kind. It is understandable that a lot of the tension that was running through the group at the time would bleed into the album. Not only was there stress within the ranks – the increasing presence of Yoko Ono in the studio did not help – but you got the feeling that the band were moving in different directions. This all sounds rather bleak and you might wonder why I am including Let It Be on my site at all. Well, it is a Beatles album and that is reason enough. The fact that it was released after they broke up has a sad tinge but I think, some forty-nine years after its release (Wednesday is the official anniversary), it does get the attention it deserves. Paul McCartney famously was keen to get Let It Be… Naked out: a stripped-back and reworked album that took away a lot of Phil Spector’s production layers.

The fact George Martin had left before the album – after the rather tense experience with The Beatles in 1968 – meant that there was a lot of change regarding production. You can hear that but I think there are a lot of golden moments! The band wanted to go back to a simpler style of recording. Given their move into more complex and experimental territory; Let It Be was a chance to return to a slightly less fussy and boundary-pushing album. One can hear that throughout the record but, as things often go, there were kinks. With a new producer and some tense moments in the studio (George Harrison briefly left the band), there were some challenges to overcome. By late-1968, The Beatles had stopped touring but McCartney wanted the band to hit the road again. The fact that, since 1966, The Beatles had been recording and, often, in separate rooms meant there was a slight split and not the same brotherly bond they had in the early days. Maybe, too, live gigs would help sharpen their material and give them fresh ideas. I do like the suggestion from McCartney and do wonder what would have happened if The Beatles got back on the stage and did some gigs pre-Let It Be. One of the worst decisions was letting cameras into the band’s orbit as they were recording the album. Never a good idea with any artist, that intrusion and sense of expectation further strained an already-frayed band. The band was not keen on McCartney’s idea of touring and, whilst George Martin did offer ideas, he was not a central part of the production.

I shall mention the great songs and the reasons why Let It Be is an album to celebrate but, when the bands were rehearsing the song, the tension that was there during 1968 presented itself. Ever since their eponymous album, The Beatles were drifting apart. John Lennon and Paul McCartney were not the same unit as they were and, with a sense of fatigue creeping in, one could definitely see the band were not long for the world. Lennon was in a rather fragile emotional state and Yoko Ono’s presence in the studio caused some argument. The fact there were cameras filming a lot of these spats and icy moments did not really help the band. There is a film coming later this year I believe that shows some of that rehearsal footage and actually gives us a really deep look at Let It Be and what was happening in the band at that time. The band were quite tired and ragged when recording and rehearsing and McCartney did try to galvanise them and get some energy back in the ranks. During a rehearsal of Two of Us, there was a heated argument between McCartney and George Harrison; Harrison also was annoyed that Lennon seemed detached from the band and less focused – Harrison would leave the band after the anger and tension became too much (he would return). After The Beatles abandoned Twickenham and having their rehearsals recorded, the rest of the filming would be them in the studio getting Let It Be down.

On 30th January, 1969 The Beatles, alongside Billy Preston, took to the roof of the Apple building to perform a famous concert. It would be the last time they performed as a band and whilst it was a bit of a publicity move for the film, the band got up there and performed. The set was cut short when the police intervened by a select group of people got to see The Beatles perform a very unusual gig at a very difficult time. You could sense some sense of harmony and togetherness from the band during the songs, something that had been missing up until that point. Whilst The Beatles were not completely rejuvenated after that gig, you sensed that it was needed and a reminder that they were together and they were incredible. During the recording sessions, countless songs were played – many would find their way onto the band’s last-recorded album, Abbey Road. I often wonder why Get Back was not chosen as the opening track for Let It Be but it actually works really well as a swansong. It is a classic McCartney track and one of the most famous in The Beatles’ cannon. In the opening half, there is the beautiful Two of Us: led by McCartney, one can attribute some of the lyrics to the changing relationship between he and Lennon (“You and me, chasing papers/getting nowehere…”).

  IN THIS PHOTO: The Beatles during their final photoshoot (in Tilehurst Park) on 22nd August, 1969/PHOTO CREDIT: Ethan Russell and Monte Fresco

Across the Universe is a gorgeous and underrated Lennon song (covered by artists such as Rufus Wainwright) and I Me Mine is actually one of Harrison’s best songs of the period – he would better himself on Here Comes the Sun and Something on Abbey Road, mind. Dig It and Maggie Mae are not essential but they are interesting tracks in their own right. What I also get from Let It Be is a sense of conversation and playfulness that had been absent from previous albums. There are little jokes and spoken word bits that give Let It Be a live feeling and sense of fun. Although the band was not entirely happy throughout, they still managed to turn out some of their best material. Let It Be is a sensational McCartney track and, again, one of the best he ever wrote. Written about his mother, there are visions of her coming to Macca in his sleep and letting him know everything will be okay. I think it should have ended the first side (Maggie Mae does) but it is, in my view, the best track on the album. I’ve Got a Feeling and One After 909 open the second half with aplomb. Although neither track is the best the band came up with the latter, especially, held fond memories for McCartney. Lennon wrote it when he was seventeen and it seemed like this was a special track for both of them. The Long and Winding Road is another McCartney emotion-drainer that is beautiful, sweeping and hugely memorable.

McCartney wanted the track to be quite spare but Phil Spector modified it and, as such, there is a bit too much happening on a song that works best when stripped back. One of the reasons McCartney was eager to put Let It Be… Naked out was so he could finally have The Long and Winding Road in its natural state – he also changed the track order as well so that the album flowed a bit better. For You Blue is another Harrison effort and, at the end, we have the terrific Get Back. There are some weaker moments on Let It Be but, when it really hits fifth gear, the effect is mesmerising. One would forgive The Beatles for splitting at that point but there was a feeling that they had another album in them. Knowing that the end was in sight, they recorded Abbey Road and recaptured their earlier genius. Let It Be is a fascinating album that is more associated with its weaknesses and strains than the actual material. I like the fact there are loose edges and there are some sublime moments of Beatles brilliance. It is a patchy album in places but one that deserves its place. Although some critics in 1970 were a bit cold, there has been ample retrospective acclaim. AllMusic had this to say:

“Although most of the album, then, has a live-in-the-studio feel, the main problem was that the material wasn't uniformly strong, and that the Beatles themselves were in fairly lousy moods due to inter-group tension. All that said, the album is on the whole underrated, even discounting the fact that a sub-standard Beatles record is better than almost any other group's best work. McCartney in particular offers several gems: the gospelish "Let It Be," which has some of his best lyrics; "Get Back," one of his hardest rockers; and the melodic "The Long and Winding Road," ruined by Spector's heavy-handed overdubs (the superior string-less, choir-less version was finally released on Anthology Vol. 3). The folky "Two of Us," with John and Paul harmonizing together, was also a highlight. Most of the rest of the material, by contrast, was going through the motions to some degree, although there are some good moments of straight hard rock in "I've Got a Feeling" and "Dig a Pony." As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever”.

Sputnikmusic provided their thoughts:

“The highlight of Let It Be is its moving center piece, the title track. The track is introduced by Lennon in a high pitched voice saying "That was 'Can You Dig It' by Georgie Wood, and now we'd like to do 'Hark The Angels Come'," before the melancholy cadences of the piano of the main verse welcome in Paul's voice. Soon the piano is met by drums and Spector's trademark orchestral production with some light brass before it bursts into George Harrison's beautifully uplifting guitar work. McCartney's lyrics perfectly complement the somber instrumentation, weaving strong Catholic imagery with the bubbling spirit of hope ingrained in the times. "Let It Be" reaches its moving peak at the final verse when Paul sings "And when the night is cloudy, there is still a light, that shines on me/shine until tomorrow, let it be/I wake up to the sound of music, mother Mary comes to me/speaking words of wisdom, let it be”.

Maybe Let It Be looks better naked but I have a lot of respect for the 1969 version. The band would continue on for Abbey Road but it was clear a lot of the spirit and air was out of the tyres. The best moments on Let It Be – the title track and Get Back among them – are more McCartney-led than anything: Lennon was still a powerhouse but would produce finer work on Abbey Road. When it turns forty-nine on Wednesday, it will be a bittersweet day. On the one hand, marking any Beatles album is great; there are some terrific songs to be found. On the other hand, one feels there is a lot of disconnection and a feeling that things were coming to an end. There is a film coming soon where Peter Jackson gets to grips with all the footage from that time and tries to piece together the story of The Beatles during Let It Be. I have always loved Let It Be and, whether you prefer it dressed up or naked, it is a record that…

POSESSES moments of pure brilliance.

FEATURE: Vinyl Corner: T. Rex – Electric Warrior

FEATURE:

 

 

Vinyl Corner

ARTWORK CREDIT: Hipgnosis/ORIGINAL PHOTO: Kieron ‘Spud’ Murphy

T. Rex – Electric Warrior

__________

THERE are few albums that have been part of my life...

 IN THIS PHOTO: T. Rex (circa 1971)/PHOTO CREDIT: Getty Images

as long as T. Rex’s Electric Warrior. I found T. Rex from a very early age and recall hearing the big hits from the band. Led by the charismatic Marc Bolan, I was inflamed and thrilled by the swaggering Glam-Rock tracks such as Metal Guru and Get It On. I am not sure exactly when T. Rex came into my orbit but I recall playing songs from them on a cassette player me and my friends used to listen to. Before long, the tracks were being chanted gleefully by me and my pals and it was great connecting with these bold and brilliant songs. There are albums that sort of win you over through time and there are others that grab you instantly. Electric Warrior is definitely in that second camp. The second album from T. Rex, this signalled a turn from a more Folk-orientated sound to a full embrace of Glam-Rock. Many might say that they heard a lot of music from Marc Bolan before 1971; the band used to be called Tyrannosaurus Rex: T. Rex was a fairly recent incarnation but, yes, Bolan had been on the scene for a little while. One can argue who pioneered and pushed Glam-Rock to the masses. Certainly, David Bowie would make a big impact around the same sort of time as Electric Warrior with Hunky Dory but, to me, I think about Glam-Rock and T. Rex springs instantly to mind!

Not only did Electric Warrior receive a lot of critical praise but it inspired legions of musicians. Paul Weller claims it is one of his favourite records; John Parish is a big fan of the album whilst songs such as Jeepster have been used in films – Quentin Tarantino used the song in 2007’s Death Proof. The eleven tracks on Electric Warrior are fantastically evocative, fresh and colourful. There is plenty of emotion and tenderer moments but there is ample spark and dance to be discovered. The album kicks off with the terrific Mambo Sun. Bolan has rarely sounded as chilled, cool and snaking as he does on this song. One gets a little touch of The Beatles with some of the guitar work and the lyrics are evocative and trippy. Cosmic Dancer – which one might recognise from Billy Elliot – sees the Glam star describing himself as this eternal dancer; dancing from the womb and into the tomb – a series of wonderfully rich and striking images that definitely get into the bones. The sheer sway, romance and beauty of the song makes it an album highlight. Jeepster is that big hit that I recall from childhood. Whereas the opening two tracks have a relative calm and do not have a huge amount of stomp, Jeepster is a more fired and frantic affair. I am not sure what a ‘jeepster’ is but, as Bolan professes his love and adoration of the subject, you figure it must be a good thing!

The chorus is among the most memorable T. Rex ever produced and I love the guitar work throughout the track – played by Marc Bolan. With production by Tony Visconti and Mickey Finn, Steve Currie and Bill Legend supporting Bolan (alongside some additional musicians), Electric Warrior has so many different textures and flavours. Lean Woman Blues, as the title suggests, is more in the Blues key and is actually one of the most interesting tracks from the album. You might think of T. Rex and assume everything was glitter, Glam and sex. In fact, on albums like Electric Warrior, there are a lot of different twists and turns. Lean Woman Blues is a fantastic example of Bolan’s eclectic songwriting nature; a track that allows him to take his voice in different directions. The album is perfectly programmed and sequenced so, by the end of that track (and the first side) you have been treated to a couple of big hits and a few slightly smaller numbers; each making their mark and providing something unique. If you get Electric Warrior on vinyl then make sure you see what I mean regarding tracklisting. The needle comes up on the first side and, when you put the needle down for the second side, the first track off the mark is Get It On. Maybe this is the definitive and best-known T. Rex track. It is raw, passionate and tough; full of great riffs, confident vocals and memorable lines.

When I was growing up around T. Rex, this was one of the tracks that were constantly on my mind. I would discover Ride a White Swan, Hot Love and Metal Guru later but, right from the off, Get It On was bouncing around my young mind. Although Bowie was already around and shaping up to be one of the most innovative musicians of his time, it is hard to ignore the fact that he incorporated a bit of T. Rex into his work. Maybe that is just me estimating and taking swings but I can definitely hear flecks of T. Rex in Bowie. Planet Queen and Girl calm things down a bit after the explosive Get It On and then, with some similar riffs, The Motivator gets the energy levels back up. Life’s a Gas is a grooving, stunning and underrated gem that boasts some of Marc Bolan’s vocal work. Rip Off ends Electric Warrior with so much heat, yowls and energy that you sort of want it to keep going. Again, if you think of tracklisting, it is the perfect way to end the album. Reviews back in 1971 were positive and, since then, critics have been keen to have their say. Electric Warrior definitely helped bring Glam-Rock to the mainstream and inspired so many other artists. T. Rex, in 1971, were on the cusp of taking over the world.

 PHOTO CREDIT: Getty Images

In a retrospective review, Pitchfork talk about the sheer fun on Electric Warrior and how rich the record is:

“For those hunting down the singles, Electric Warrior does contain the immortal "Bang a Gong (Get it On)", but that's neither the only nor the best reason to pick it up. What makes this record so enduring is its almost accidental emotional depth: When T.Rex is kicking out the jams, they sound like they're having the most gleeful, absurd good time ever committed to wax. There's nothing so glorious in rock and roll as hearing Bolan croon, "Just like a car, you're pleasing to behold/ I'll call you Jaguar if I may be so bold," over his namesake boogie.

The most significant aspect of Electric Warrior isn't its arena rock confidence; it's that Bolan allows his grinning mask to slip. With the incomparable aid of producer Tony Visconti, Bolan sketches a vast, empty room, where, after the party's over, he resides alone, wide-eyed and desperate. On ballads like "Cosmic Dancer", "Monolith" and "Girl", he speaks in the same gibberish as elsewhere, but he's clearly haunted-- by what we can't say. But the gaping, searing question mark that comes at the conclusion of the album-- guitar feedback paired with a string section, holding a shivering and very ambivalent cluster of notes-- is just one of many clues that there's more to Electric Warrior than its surface lets on. This is not simply a man who plays party songs because he wants to: This is a man who plays party songs to fend off darkness”.

 

MusicOMH had an interesting angle when reviewing Electric Warrior back in 2012:

“Perhaps the key to the album’s apparent lack of age-spots is Marc Bolan’s subdued, hip-shot, sex-crazed vocal delivery, or producer Tony Visconti’s sterile, carefully constructed sound field with its pristine snare drums, psychedelic guitar flourishes, and the occasional saccharine string run or choir-like background vocals. But central to the album’s greatness is the iconic nature of its imagery and the simple manifesto implied by its title: Bolan, silhouetted in yellow on the album’s cover, wields his guitar like a weapon, perched defiantly in front of an outsized guitar amp like a maniac with his twitchy finger testing the limits of the trigger’s resistance. The whole album feels like it’s ready to blow at any point, and it’s mesmerizing to lie between the speakers while Bolan and company maintain the madcap machismo of their rock ‘n’ roll high-wire act”.

I have a love for so many albums but Electric Warrior is a very special one indeed. Maybe it is the sheer confidence and raw energy that runs throughout that captures me. Of course, at such a young age, I was not too aware of all the sex and sweat that was flying from the speakers – probably just as well I guess! I listen to Electric Warrior now and it still sounds completely thrilling and new.

I pick up new aspects and certain songs reveal fresh layers. It was Electric Warrior that got me interested in Glam and artists like Mud, The Sweet and Slade. When celebrating Electric Warrior’s fortieth back in 2011, Westword highlighted its importance regarding the explosion of Glam and what defines the album:

“There were other acts that had a part in glam's birth too -- mainly David Bowie, who's Ziggy Stardust persona was being developed into an concept album and a film (not to mention his preceding 1971 release, Hunky Dory, which moved in this direction as well). Plus, Mott the Hoople's 1972 record All The Young Dudes contained the anthemic hit by the same name, but it too was the work of Bowie, who salvaged the almost broken-up group by writing the title track and producing the full-length.

But what Electric Warrior had within was something more apparent. It had sex inside of it. The whole record, all eleven tracks, were sexy. Its lusty ooze dripped from every bass tremor, every wiggly, Chuck Berry-harkening guitar riff, every gyrating drum beat, and of course, every breath Marc Bolan could produce. In America, the album (and T. Rex's) success was only seen through "Get It On" -- known stateside as "Bang A Gong (Get It On)" to avoid being confused with "Get It On" by Chase. But T. Rex's version, which only reached number ten on the American Billboard singles charts, was far from the best part of Electric Warrior”.

A year after Electric Warrior seduced the world, T. Rex introduced The Slider. With Visconti back on board as producer, hits such as Telegram Sam and Metal Guru made it a huge hit for fans and critics. It seemed, during 1971 and 1972, T. Rex could do no wrong! It would be a couple more years before there was a decline in quality but, in terms of spearheading Glam-Rock and providing this exhilarating and primal sound, T. Rex were innovators and pioneers that captured the public consciousness and inspired their peers. I love Electric Warrior because it seemed like the start of something wonderful and new. It was the album where Bolan and his band switched from acoustic sounds and turned the electricity all the way to eleven! Still completely engrossing and extraordinary almost forty-eight years after its release, Electric Warrior is a true work of genius. We do not really have Glam-Rock now so it seems sad that new generations are missing out on this album. I hope people do pick it up and discover some of the finest and most original songs of the 1970s. There is nobody quite like Marc Bolan, that is for sure! I love how he can transform from the slithering love God to someone with a tender heart and deep soul. Many people associate Bolan with sex and assume there are no other sides to him: Electric Warrior disproves that and possesses so many different emotions and wonderful stories. From the sheer majesty of Cosmic Dancer to the primitive voltage of Get It On, there is so much packed into Electric Warrior. If you have a few pennies and time spare, go order Electric Warrior and discover this colourful, wild; wonderful, striking and…

PHOTO CREDIT: Getty Images/T. Rex

TIMELESS album.