TRACK REVIEW: Liam Gallagher - The River

TRACK REVIEW:

 

Liam Gallagher

The River

 

9.4/10

 

 

The track, The River, is available via:

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

GENRES:

Rock/Alternative

ORIGIN:

Manchester, U.K.

RELEASE DATE:

27th June, 2019

LABEL:

Warner Music UK Ltd.

The album, Why Me? Why Not, is available from 20th September. Pre-order here:

https://liamgallagher.com/whymewhynot/

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AS the excitement of Glastonbury…

 PHOTO CREDIT: Amy Sussman

continues to bubble and explode, there are countless highlight ahead. Yesterday’s performances were terrific and everyone will have their own favourites. Somewhere among the rabble, there would have been these sets that will live on: IDLES, Stormzy and Sheryl Crow are all getting huge reception from their turns. I will talk more about Glastonbury later but, when talking about Liam Gallagher (who is also at Glastonbury this year), I am compelled to remark on natural festival acts and showmen(women); idols and rebels in music and why the likes of Gallagher are both inspiring and rare; why Gallagher’s music is improving and how, as he is calming slightly, it brings out new sides; whether Rock can ever be truly seen as ‘dead’ – I will talk a bit about where Gallagher might head next. I think the best sets from festivals are those where there is a bit of energy and performance. I am not saying the slightly quieter sets are lacking but there is something about those big and bombastic sets that really get into the mind. Think about what Stormzy delivered yesterday and the reaction he is getting. He sort of tore up the stage and proved his headline status. It is remarkable seeing how artists step up when it comes to Glastonbury and how they deliver these remarkable performances. Liam Gallagher, as part of Oasis, is no stranger to the big stage. He, to me, is one of the most natural festival performers in the world. He has this natural way that can whip up the crowd; his singing is incredible and he always brings the swagger. As he has (slightly) aged, that physicality and showmanship has hardly alluded him. We do not have as many natural leaders and showmen in the music world as years before (I feel), but there are a few coming through. I do think a lot of the new breed takes their lead from the likes of Gallagher. Not only has the Mancunian artist created some of the best music of our generation but, in terms of the live performances, Gallagher has given us a lot of joy.

There is that argument as to whether Gallagher goes a bit too far at time – recent newspaper reports regarding possible domestic abuse cannot be ignored and written off as part of being a Rock star. When it comes to the music and the thrill of live performance, there are few as electric and scintillating as Liam Gallagher. He has this in-built energy and cheekiness that means the songs come alive. He can own the stage and, in his traditional pose – arms behind the bag, head forward and that masterful, fixed position – there are very few who have the same gravitas as him. Although the recorded music is key, I do love those artists who can take that material to new heights. We all love albums and singles but the live performance takes that material somewhere else. It connects with the audience and gives it an edge you cannot get from the original version. Liam Gallagher has been talking about past performances and, it seems, this year allows him to set the record straight. This article from NME finds Gallagher talking about his love of Glastonbury and how there was one aspect of performance that riled him a bit:

 “Gallagher told BBC 6 Music’s Matt Everitt: “I’ve always enjoyed Glastonbury. There’s only one that I didn’t and that was when I wore a white jacket. I didn’t enjoy that because that was when I’d first started using in ears [monitors to hear the music] and it’s spun me out for 15 years. I’ve only finally took them out so I’m kind of getting back to normal. I hated that gig, man.”

Gallagher added: “I started putting in-ears in as our kid wanted to go Slash, you know what I mean, and turn everything up. So I put them in for the sake of the band and my voice and all that, but I couldn’t get my head round it and then I carried on using them just because, apparently, they’re good for your voice and saves your voice. But I’m off them now, weaned myself off them, they’re horrible.

“You know what it is, with those in ear things you just feel like you’re in the studio, and you can’t have that. You need the interaction, you need the vibe, so yeah it was horrible, I didn’t like it. I mean I enjoyed myself after it because you soon put it to bed, you get off your head and all that and I enjoyed the vibe. But the gig, nah, wasn’t for me”.

 PHOTO CREDIT: Tom Jamieson

Linking into the subject of showmen(women) and why they are a rare breed, how many real idols and rebels do we have right now!? I guess IDLES, in a way, have a bit of Liam Gallagher to them. I can trace so many modern bands/artists to Oasis and what Liam Gallagher has given the music world. Back in the 1990s, Oasis lit up music and gave us some of the finest anthems of their day. Liam Gallagher was a superstar and someone who inspired the masses. Even now, Gallagher is this outspoken and always-cheeky artist who tells it like it is. He has been talking about knife violence in London and how he fears for his children living there. Gallagher knows politicians need to do more and, rather than hide his opinions away, he is always willing to share them and speak out. Some might say that lack of filter can lead to trouble but, as Gallagher has aged, he has become wiser and he is actually reformed in many ways. One of the worst aspects of Gallagher back in the day was the fighting and drinking; times when he took the Rock ‘n’ Roll idol thing too far and caused more destruction than positivity. Maybe that was part of the lifestyle but he has settled a bit – that is not to say his edge has evaded him! In fact, Gallagher is this always-ready idol who is compelling other artists in terms of their opinions, live performances and attitudes. I do think music is still pretty safe and soft, and so, seeing artists like Gallagher add a bit of spice into the mix is very satisfying. Whether rallying against politicians or taking a shot at his brother Noel, Gallagher is a refreshing breeze that needs to remain for as long as possible. Maybe his solo material is not quite as raw as some of Oasis’ biggest tunes but he has not done what a lot of his peers have done and softened his touch.

 PHOTO CREDIT: Q magazine

There is no doubt Liam Gallagher is an idol who has roused musicians into the industry; to take a stand and give us something thrilling and exhilarating. Being rebellious sounds like a bit of a hassle and, as I said, so many artists do not have that necessary swagger. I guess you need to be careful what you say and not cause too much trouble but, as bands like IDLES are showing, letting it all go and truly connecting with the crowd is awe-inspiring. Maybe they have not taken directly from Liam Gallagher but there is a link between them. The former Oasis man was never afraid to hold back and giving the music that unpredictable nature is bewitching. Now, as the established legend he is, he continues to make the news and turn heads. Rather than make the news constantly for getting into trouble – there was a period during Oasis’ heyday where that was a daily reality – Gallagher has grown a lot and knows that he needs to calm his head a bit. There is a new documentary out focusing on Liam Gallagher and, as the article below highlights, there is a vulnerable, sensitive side to Gallagher:

“The viewer senses that the final missing piece in this tale of redemption is Noel. When Liam visits the Gallagher family home in Burnage, Manchester, he looks round the room he shared with his brother, happily explaining how their feud really began (he urinated on Noel’s stereo). When Liam is asked what he would do if they met after ten years of estrangement, he says he is unsure—that he might give Noel a “love bite”. Liam’s social-media provocations (“To all you [Noel Gallagher] fanboys I can and will sing any song he wrote bigger better than him even if I was kicked in the bollox by a wood pigeon”) and invitations (“...I forgive you now let’s get the BIG O back together and stop f***ing about the drinks are on me LG x”) are considered by the film’s talking-heads as child-like manifestations of love. He misses his brother, and, as explained by those closest to him, he wonders what Noel thinks when he releases new music. Indeed, Noel’s mark on the film goes beyond mere sentiment. After watching the film ahead of its premiere, he refused to allow any Oasis songs to feature”.

Before coming on to that age-old question as to whether Rock music is dead or not, I do feel like we need to address Gallagher’s musical development. His 2017 debut album, As You Were, got some great reviews and, although there was a lot of expectation regarding his capabilities as a solo artist, he turned in a great album. I actually reviewed the album when it came out and, although I liked some of the songs, I felt it lacked the best of him. Maybe it was the songwriting and lyrics or perhaps it was the production. There was something missing and it did trouble me a bit. There is no denying Gallagher’s talents as a performer and singer but, when it comes to the songwriting, has the secret ingredient been Noel Gallagher?  Maybe the fact Oasis seemed to capture a spirit of the times back in the 1990s was what made Gallagher pop. I was asking myself whether Gallagher would record another album and, with Why Me? Why Not out in the autumn, I can see improvements coming in. With the track, Shockwave, already out, he has brought us a new cut in the form of The River. In some ways, it is business as usual for the northern star. He has not strayed too far from his vocal style and patterns but, in terms of the songs themselves, there is a big step forward. The lyrics seem more original and they connect more freely. The compositions are deeper and more interesting and I think Gallagher’s voice has strengthened in the past couple of years. I still think the production is a bit too polished but, as I shall explore when reviewing his new single, Gallagher is at his most strident and striking when there is a bit of polish in the production. It is really challenging stepping away from a big band because everyone always associates you with them. Proving your worth in any other context takes time and some people are always going to have these huge expectations.

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 PHOTO CREDIT: Neale Haynes

Liam Gallagher is a natural solo artist and shows he does not need Oasis to make him relevant. His solo album did get some great reviews and I think his sophomore album will fare even better. There is a bit more maturity this time around and the songwriting is sharper. Maybe it is the fact the world has moved on since 2017 in terms of politics and his personal situation. Things were pretty tense and shaky back in 2017 but the world has got even less sure since then and, in Gallagher’s life, there have been some changes and challenges. He seems to put all of this down on the page and his voice carries a certain hue. That said, the man has not lost his sense of light and energy and he manages to turn songs like The River into real gems. Gallagher is a stunning singer and I do not think he gets the credit he deserves. I love the fact that he is still making music decades after Oasis broke and I do hope he continues to craft great songs for many more years to come. I will conclude by indicating where Gallagher is heading next but it seems like he has the same love of music he did when he was in Oasis. Some artists phone it in a bit and you can tell they have lost some of that spark. That is not the case with Gallagher who is as invested and passionate as he always was! One only needs to listen to a few moments of The River and you can tell how much he loves what he does. I do feel there has been an improvement in terms of Gallagher’s material and he is a lot sharper and more nuanced than before. As You Were was a good album but I worry there was something lacking. Maybe it was the people writing the songs or something else but I felt more could have come through. Gallagher has definitely responded and he seems a lot stronger this time around.

I will review his latest track very soon but I want to respond to something I read in The Guardian where Vampire Weekend’s Ezra Koenig claimed Rock is dead. He was talking about a lot of different things – including Glastonbury – but his observation definitely drew some criticism. Maybe we do not have the same bands as we did back in the 1990s or last decade but that is not to say Rock is dead. We always get this debate rising up regarding Rock and whether it has functionality in the modern day. Perhaps people are comparing today with the best of decades past but to say Rock is dead is quite short-sighted. I have already mentioned IDLES and there are other bands (such as black midi) that are showing Rock is developing and alive. Maybe Rock has changed through the years and we do not have the same raft of bands we once did. The solo artist has taken over to an extent but that is not to say bands lack clout. With some terrific acts coming through, I don’t think anyone can really say Rock is dead. It is not as loud as it once was but that is just a sign of the times. Music evolves and new tastes emerge but, as has been the case for decades and decades, Rock continues to appeal, influence and shout. Liam Gallagher should know because, back in the 1990s, he was surrounded by so many great Rock bands. He would claim they were inferior to Oasis (most of them were) but he exists in a world where Rock is still vital. Rather than retreat and adopt a new style, Gallagher continues to swagger, stride and generally give a bit of a finger to the establishment. Maybe he has some opinions on the modern breed but even he cannot say modern music lacks intensity and edge. I do wonder what compels the constant discussion around Rock and whether it has life anymore. Perhaps we all do get into this mindset that looks back rather than forward.

I am one of those people who loves the classics from the 1960s, 1970s and, especially, the 1990s but that does not mean I think modern music is irrelevant in comparison. Other genres have come onto the scene that are mixing alongside Rock. We have Post-Punk bands like IDLES and there are great new acts like Amyl and The Sniffers who are giving the world their own style of spit and attack. I would urge anyone who feels Rock is lame to have a look around and see what is shaping up at the moment. Yes, we will never see the wealth of Rock bands we had back in the 1960s and 1970s but that is because the times have changed. Music is a vast and open market and Rock still has a very big part to play. At a time when the world is divided and we are not too sure what is happening regarding international affairs, climate change and the like, I feel Rock is more relevant and needed than ever. I have nothing against other types of music but there is a collective tension and sense of anger that needs articulating in music. Artists are responding to this and I do believe there are a lot of underground artists ready to shine and emerge to the surface. Maybe the argument regarding Rock and its lifespan comes down to taste and whether people like Ezra Koenig feel the current crop is as strong as the older order. That is a personal thing but I do not think one can write off Rock and say that it is dead. Liam Gallagher, I am sure, would argue against the notion Rock is fading away because he is still rocking pretty hard. As a definite role model for so many modern artists, Gallagher continues to lead the way. He is an unfiltered, uncontrolled and natural rebel with a big heart; a man that has as much spirit as he did back in the 1990s and living proof that Rock has plenty of spark left in it!

The River kicks off with a definitely sense of purpose and grit. I remarked how Gallagher’s debut album was a little too polished and, on this track, there are not as many production layers. One can detect this vintage sound that harks back to the 1960s and 1970s. This means that, before a word is sung, you have this very welcomed sound that gives the music more atmosphere and oomph. The lyrics themselves, I feel, are sharper and more interesting than a lot of what was on his debut. In terms of the first verse, Gallagher talks about people going weak the knees; those afraid of the “thought police”. There is a sense of naivety and ignorance; maybe people writing off his/our generation and saying that we are forsaken. Gallagher acts as this preacher (albeit a calm one) who is asking for people to open their eyes and get this heads out of the “clouds of weed”; out of the “time machines” and to actually make a noise. It is clear that Gallagher wants change and knows that it is coming. Maybe he is striking against the Government and their ineptitude but he is calling for action. Maybe there are those who live in the past and live in a haze; those that are not standing up and, as the song goes, Gallagher is waiting down by the river and wants the water to fall. The imagery he projects is pretty epic and you get this nice mix of grand scenes and intimate details. There is plenty of tension and tautness in The River. Gallagher’s voice is both pressing and collected. He balances this angry-yet-considered approach where he knows things need to change but he is not going to lose his head. Against a lot of modern artists who are projecting intensity and outright anger, Gallagher has that same anger but he is not as overt and in-your-face as many. I think that is good because we have this contrast and, if Gallagher were to shout and scream his words, the song might lose some of its meaning.

I love the composition on The River and the fact that it has a life of its own – I did feel a lot of the compositions on As You Were were a bit samey and did not resonate. Here, I think things have changed and Gallagher is taking his music in new directions. We do not have the same guitar chops as Noel Gallagher on display but Liam Gallagher’s band is pretty tight and sound. As the second verse of The River comes into flow, the hero talks about the walls closing in and people’s eyes getting sore. Gallagher does not want people to believe celebrities and politicians: people whose motives are not straight and they will feed you all sorts of lies. Essentially, he is telling us to take action and believe the truth. It is hard to do that in a world filled with lies but we have reached a point where things have got bad. The people know there needs to be positive change and politicians are letting us down. Not only are The River’s lyrics relevant and memorable but there is room for the band to stand out. I love how you get as much imagery and impression from the composition as you do from Gallagher and the words. The River is a complete song that warrants a few spins. It is pretty catchy and strong when you first hear it but I do not think it loses anything if you give it a serious work-out! I also loved Shockwave and it seems that Gallagher is more interested in the wider world and the state of affairs rather than what is happening in his own life. I have complained that artists are still too fixated on their own hearts and do not spend enough time talking about the issues in the world. It is good to see Gallagher addressing this and I think The River is an effective and affecting song that will open eyes but can also be adapted by live crowds. The song has a definite sing-along quality and natural Gallagher spark that sets it apart from so many songs of the moment. Check it out if you can because, like me, you will definitely want to get hold of Why Me? Why Not when it comes out. Gallagher is in very fine and rude form.

Right now, Liam Gallagher is preparing for his turn on the Pyramid Stage (today) – in fact, he tweeted just over an hour ago. He has been playing some warm-up gigs to ready himself for a sweltering set and it will be wonderful seeing the masses come out and support Gallagher. Songs like The River will be in the set but I know there will be some Oasis classics in the mix – people would mutiny otherwise! Why Me? Why Not is Gallagher’s new Twitter sign-off (As You Were was the previous sign-off) and the legend is preparing to release his album in September. If you do not get to see him later at Glastonbury, you can watch it on the BBC and there will be highlights shown. Gallagher has had a bit of a love-hate relationship with Glastonbury and I feel he has not been 100% happy with all the performances he has given there. As a solo artist, he has all that pressure on his shoulders but I do not think that will hinder him at all. Gallagher is a supremely confident performer who has so many hits in his pocket. He connects with the crowd and can get people whipped up pretty easily! I am sure he will have a few choice things to say regarding politics and modern Britain. To be honest, we would be disappointed if Gallagher was to calm it and become a bit of a neutered house cat. The always-reliable Gallagher definitely has his cool and swagger - and that is never going to go away. It is going to be a busy year for him and, after Glastonbury ends, there is the business of getting his album out there. When it is released, I guess there will be more gigs until the end of the year. If his debut solo album indicated a sense of calm and acknowledgment - getting something off his chest before ordering people to carry on – this time around we have a Gallagher who is raising questions. Why Me? Why Not. What does that mean exactly? It is intriguing and I guess we will have to wait until September before all the puzzle pieces come together. Gallagher has famously signed off his tweets with ‘As You Were/As You Were x’ for a while now and, as he enters a new phase of his career, there are many of us who want him to remain…

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PHOTO CREDIT: RANKIN 

AS he is!

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Follow Liam Gallagher

FEATURE: OK Commuter: The Calming Influence of Sound and Music on Stress and Anxiety

FEATURE:

 

 

OK Commuter

PHOTO CREDIT: @stairhopper/Unsplash 

The Calming Influence of Sound and Music on Stress and Anxiety

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I know I have just written a feature…

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PHOTO CREDIT: @clemono2/Unsplash

that talked about the difference between people listening to music to block out people or block out the world but, as the fortieth anniversary of the Sony Walkman arrives on Monday (1st July), I have been thinking about the portability of sound; the way one can build their own private universe and hide away. That might sound like I am advocating ignoring people but, as someone who lives with anxiety, I know how stressful commuting is. We all have to deal with a fair bit of noise pollution, stress and upheaval getting to and from work and, when the day is done, I always love to listen to music or a podcast. I look around the London Underground and, for the most part, you see people on their phones or with earphones in/headphones on. Whether it is an early-morning commute or coming home at the end of a long day, I can understand the necessity of having sound/music at your fingertips. There is this line between shutting people out and trying to find some solace in a crazy world. I genuinely believe more people  are trying to claim some calm and soothe when they have their music/sounds on – if that sound does leak out then it risks being anti-social and disruptive. I feel, more and more, commuting especially is a real trial and test. If you are making eye contact as much as possible and not staring down at a screen, it is nice having selected sounds in your ears and watching people come and go.

So long as you are also aware of conversation/the fact people might need your assistance – keeping the volume fairly low and having that balance of privacy and awareness – then that is the best mix. Sony did not envisage how their Walkman would inspire generations and how technology would change it. The portability of music is the best thing about it: the associated feeling that people are blocking out others is more common regarding Smartphones and visual distractions…nothing to do with Sony and, actually, the problem of individuals who want to live this way. It is important to keep your commute calm without shutting out people and, depending on how far you have to travel, it provides an opportunity to enjoy an album, podcast or radio show. I have been getting back into Radiohead’s back catalogue and (have been) rediscovering their peerless best. The immense satisfaction of diving into an album and immersing yourself in its beauty is wonderful. As I said, keeping visual channels open is important but, as a soundtrack to the commute and bustle of life, it can be very calming and interesting. I do know there is a vast world of choice out there when it comes to podcasts but, if you do your research, you will find something perfect for you. In fact, the podcast market is ever-growing and competitive. If one wants to find a way of easing the stress of a commute and getting into a more positive headspace, there are choices a-plenty…

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 IMAGE CREDIT: HBO

This article from last year documents the rise of podcasts and which genres are providing most popular:

“The increase is across all age groups, but the steepest growth is now among young adults aged 15-24 – with around one in five (18.7%) now listening to podcasts every week.[1]

Ofcom collected data from a range of sources, including Rajar, ACast and TouchPoints, to explore the rise in podcast listening. Findings include:

  • Comedy is the most popular podcast genre, followed by music, TV and film.[2]

  • Half of podcast listeners are under 35. While only 29% of traditional radio listeners are under 35, this rises to 49% for podcasts.[3]

  • Almost all podcast listeners tune into radio too. Almost all podcast listeners (96%) also listen to the radio each week, though live radio commands a much lower share of their total listening activity (48%) than adults generally (75%).[4]

  • Radio and TV broadcasters are embracing the medium. Podcast versions of BBC radio programmes such as Desert Island Discs and Kermode & Mayo’s Film Review feature regularly in Apple’s iTunes podcast chart. TV broadcasters are increasingly interested in podcasts as a source of material for TV shows, or as an extension of established series (such as ITV’s podcast Love Island: The Morning After).[5]

Ofcom’s research shows that UK listeners access podcasts from a range of sources. Among the most commonly used were the BBC website and app (used by 36% of podcast listeners), YouTube (26%) and iTunes (25%). Other sources included streaming services such as Spotify, and newspapers’ websites or apps.[6]

Ian Macrae, Ofcom’s Director of Market Intelligence, said: “Podcasts are booming in the UK, and broadening people’s listening habits. Every age group is getting involved, but the most explosive growth is among younger adults”.

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IMAGE CREDIT: Pinterest 

I am a bigger advocate of music and suggest that, at a time when most of us are listening to tracks and not investigating an album in detail, a commute or time alone is a perfect excuse. I also listen to BBC Radio 6 Music and, whilst one needs a break to focus on life and not be distracted, having the radio in your ears is very beneficial. I know we are becoming more anxious in general and, for a lot of us, that is augmented and made evident by noise and the volume of life. If you live in a city or not, it is unavoidable really. Rather than live with that anxiety – obviously one needs to approach it from a medical and psychological point, too – having those brief moments of focus and calm is invaluable. There are podcasts for curious minds and those who love their music. If you want to discover what is hip and happening then there are various lists that guide you to the must-hear podcasts. It is great discovering a new favourite or these great one-offs that can give you much-needed conversation, relief and entertainment. One might argue that, if you are actively seeking out discussion and company via podcasts, why not get that from people around you?! That is a fair argument but, in a practical and logical sense, you are not always going to talk to people on a commute or feel comfortable doing that.

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 IMAGE CREDIT: BBC

So long, as I say, there is this passage of acknowledgment and openness then I feel one is perfectly fine getting stuck into a podcast or album. I have just gotten into podcasts myself and am spellbound by all the options available. One can definitely not complain because, from true crime podcasts to ones concerning history and literature, there is a great wave. Also, podcasts can provide education and knowledge. Many people do not sit down and read a book and, if you are listening to an audiobook or podcast, that can be a way of enriching your mind without having to dedicate some time to sitting down and reading. If you are thinking about listening to music/podcasts/radio on your way to work or when you are out on a run, there are articles that explore the best headphones and earphones so that you can enjoy what you are listening to and not disturb anyone else at the same time. It is worth spending some time researching podcasts (if that is what you like) and there are some helpful articles that can reveal some pearls. There is a serious point to all of this: the fact that, more and more, I am seeing people stressed and made anxious by daily life. It can be hard to hear someone experiencing anxiety and, like myself, it can be a real burden. I am seeking other methods of support – as everyone should when things get serious – but I do feel like music and sound can provide benefits. I keep coming back to the point regarding privacy and whether that is anti-social.

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 PHOTO CREDIT: @punttim/Unsplash

One of the blessing of technology is the fact we can bring books, shows and albums with us and be mobile, active and nourished at the same time. I am a big advocate of listening to albums when going about your business because there is that twin benefit of discovering something great and helping ease any anxieties. In fact, as this article explores, music is essential when it comes to helping those who live with anxiety:

“Researchers have documented that listening to music can be effective for reducing pain in people who generally have high levels of anxiety. Investigators discovered music can be used as a distraction and is effective among those who can easily become absorbed in cognitive activities.

In the study, researchers from the University of Utah Pain Research Center evaluated the potential benefits of music for diverting psychological responses to experimental pain stimuli. Accordingly, the key to successful pain control from this method would be the degree of engagement by the patient in the diversion task

Music helps reduce pain by activating sensory pathways that compete with pain pathways in the brain, stimulating emotional responses, and engaging cognitive attention. Because the music is competing with the pain pathways in the brain, it appears to help to take the focus away from pain.

Music, therefore, provided meaningful intellectual and emotional engagement to help reduce pain”.

It is great that this research has come out and I do feel we need to understand more about music/sound and how it can help a lot of people. On a purely medical basis, there is a lot to be said for counselling and medication but, in a very easy and accessible way, music and audiobooks, for instance, are a fantastic supplement.

 PHOTO CREDIT: @thoughtcatalog/Unsplash

There are benefits regarding audiobooks and I do feel like podcasts transcend mere entertainment value. We all have another stress and annoyance in our daily lives. From the offices filled with germs to the commute of death…giving yourself a break and thinking about your mental-health is no bad thing! Whether you prefer the humble album or like to listen to radio whilst travelling, there are numerous benefits. Maybe it is that warm of conversation or the license to lose yourself in something imaginative, escapist and wonderful. From educational podcasts to a great breakfast radio show, the sound can not only ease anxiety levels but it can also provide great enrichment and education. I will celebrate the Sony Walkman at forty on Monday but, back in 1979, who could have foreseen where portable sound has gone. From the humble Walkman and the delight of being able to take music with you and not disturb anyone; now, in 2019, so many of us can take libraries, sonic libraries and pretty much anything with us. I do feel there are some who are too engrossed in their phones for no reason but, when you next see that commuter or person with their earphones in, seemingly objecting to any human contact, consider they are finding focus and we cannot easily judge. I know many people who listen to music because they do not like background noise and they can get rattled by the stress of life. If you are in that situation but are used to listening to the same albums and shows all the time, have a look online because there is so much out there. I have stumbled on a few podcasts and it is amazing how transformative something like a podcast can be regarding mood and mindset. When all the world around us is spinning, moving fast and unpredictable, the comfort and guidance of sound provides that much-needed…

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 PHOTO CREDIT: @rayeyes/Unsplash

STABILITY and relief.  

FEATURE: Equalisation: Bringing Female Sound Engineers Into the Mix

FEATURE:

 

 

Equalisation

PHOTO CREDIT: @adigold1/Unsplash 

Bringing Female Sound Engineers Into the Mix

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THERE are areas of the music industry…

 PHOTO CREDIT: @schneidermann/Unsplash

where women are seriously under-represented! I know there is still a problem with festivals and line-ups and, whilst I have covered this extensively, I do still think something needs to be done. It is a bit of a shame that, regardless of talent and potential, women are not being given their shot. There are particular corners of music where the gender disparity is even more severe. Look at studios and, for the most part, there will be men occupying the desks. There are some great female producers working in the industry but they seem to be in the minority. Maybe it comes down to the fact there is this feeling a studio is a boy’s zone or, with music escaping school syllabuses, perhaps we need to ensure we encourage more women to work as producers. I do not maintain, as some do, women do not want to become producers. Certainty, there are many who do but they feel studios are intimidating and, if they enter, many will overlook them. If the rate of men-women as producers is stark, engineering statistics are even more alarming. I was captured by an article that outlined how serious the issue is:

“When most people think of a sound engineer, the person that springs to mind is a man: be it in a recording studio or behind the sound desk at a live performance. Even the language used is often gendered: “the sound guy”. Technical roles in music in general – producers and mixers, for example – are almost always perceived as the realm of men.

PHOTO CREDIT: @iamjohnhult/Unsplash

Like most stereotypes, this has a basis in fact – in both North America and the UK, for example, it’s a regularly repeated statistic that less than 5% of audio engineers are women. Unfortunately, this is not a number that has changed with any great significance over the past two decades.

So what is it about music tech that makes the numbers so strikingly disparate between men and women? In part, it might well be a self-fulfilling stereotype.

Firstly, a lack of representation might make it seem an impossible pursuit. Marta Salogni is a professional sound engineer, producer and mixer, whose body of work includes recordings with the likes of The xx, Frank Ocean and Björk. Now based in London, it was back in her village in Lombardy, Italy, aged 16, when she became fascinated with the concept of sound engineering. “It made me a little bit scared because I couldn’t cling on to any role model – there was no one to demonstrate that that career was possible, and I felt alone a lot of the time.”

As I said with female producers, I do not think there is a lack of will and desire: why would anyone assume a man should be an engineer?! Roadies do not need to be men and, at a time when women are dominating and shining, I do think we need to look closely at gender roles and opening things up. Like festival bookings, there are those who say the best are booked and it has nothing to do with gender. Festivals are uneven because it is a meritocracy; studios and venues are male-heavy because they are best for those roles – in all cases, this statement is untrue, naïve and flawed.

 IN THIS PHOTO: Marta Salogni/PHOTO CREDIT: Carla Salvatore

Maybe, by having few women in studios, this creates a daunting image for those who want to become an engineer. I do think there is this stereotyped image regarding music and men being at the top; them running studios whilst the women, for the most part, are left to more clerical and less physical roles. I am seeing positive change regarding female producers and, whilst we need to promote them more heavily and highlight important schemes, there is a bigger problem regarding engineers and an imbalance. Returning to the article…and will sheer talent redress the imbalance or do we need to think of other methods?

“While representation is important, waiting on meritocracy isn’t enough to redress the balance, Salogni says, alluding to the necessity for positive discrimination. More and more schemes are coming into place to try to make this a reality – Spotify launched the EQL Directory in association with organisation SoundGirls last year, providing a list of women and gender non-conforming audio professionals. It is, as SoundGirls say on their website, “a useful tool when people say ‘they want to hire women but can’t find any.’”

I still think, adding to the problem, those in studios are not given the credit they deserve. The artist is seen as the star and we never really give props to the producers and engineers – and other bodies – who make the music come alive. The role of an engineer is crucial!

The engineer deals with every aspect of the recording process. They might be the first in the studio; warming everything up and seeing up instruments for the musicians. They have to know the acoustics of the room and which microphones are best to use. They not only have to know the studio inside out - but they then need to think about the best instruments, mics and equipment to best capture the sound. Sound engineers might also pitch in regarding production notes – as they have an intuition regarding sound – and they also get involved with the mixing. As engineers have a say in terms of volume levels and sound, they are naturally suited to guidance regarding mixing and production. The Guardian’s article recommends a great documentary, The Defiant Ones, which shows how the industry has changed regarding what is required of an engineer. Maybe the old-school engineer used to pitch in and learned as they went along. Often, musicians would graduate to become an engineer and they would learn in stages. Now, as so much digital technology is employed, engineers need to know about specific packages and software. It might all sound daunting but, as there is less a physical and winging approach and a more academic/learning-based approach to engineering, I think women are as suited to the profession as men. Even if a studio role was more physical, that still does not limit women. 

I guess engineering always used to be male-dominated and there was no real call for change. Some might argue that, if it ain’t broke, why change things!? If the music sounds good and it is all fine, do we really need to think about gender? That is fair but I know there are so many women and girls who would not only bring something new to engineering but they would help bringing about change. If we see a studio full of men, what impression does that give!? Are we to say a studio is a man’s realm - and, for female artists, they might find more common ground speaking with a female producer or engineer. I do think, in order to diversify music and make it less gender-imbalanced, encouraging more women into engineering is a good thing. Programmes being established are a good step but I return to school-age teaching and, in a social media age, we have tools to redress that gender disparity. The studio is a magical place and I do think women have a vital role to play. It is bad enough that songwriting – in regards the charts and the writing teams – is still male-dominated and I think the studio should be a less repressive space. Some women I have spoken to say they feel welcomed in studios and they do not feel judged or ignored. That is great to hear but, as the figures show, there is this barrier that means engineering is hugely male-dominated...

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 IN THIS PHOTO: Sound engineer Kim Watson/PHOTO CREDIT: Christopher L. Proctor/The Guardian

There are glimmers of hope coming in but, still, there are root-deep issues – such as sexist remarks and a lack of educational opportunities – that are holding back fast change. In this separate article, we are introduced to some great women in sound. Beth O’Leary was in the mix and, as she states, there are misconceptions regarding a lack of women in studios:

 “Beth O’Leary

Live sound technician and engineer

There’s a lovely, welcoming crew for Minogue. But out of a technical crew of 41, there are three women. And that’s good by touring standards.

I think a lot of people say it’s just that women aren’t interested. And a lot of people say we need to encourage women into Stem subjects, but I think that’s just passing the buck on to the next generation. There’s plenty of women who tried to make it in the industry and just gave up and left. I’ve even questioned why I’m still here at times. Most people are lovely and supportive, and while the whole industry is getting more inclusive, there is still sexism – both personal and systemic”.

Is O’Leary the only sound engineer who is shining and setting an example? Far from it. Consider this article from a couple of years back that spotlighted some tremendous engineers:

“Shani Gandhi was born in Singapore and raised in Australia. When she found out about sound engineering as a field, it all clicked. “I can take my hobby and my scientific background and put that together” she told The Tennessean. She graduated from the Performance and Sound Recording Technology from Ithaca College.

IN THIS PHOTO: WondaGurl/PHOTO CREDIT: Getty Images 

Look into engineering credits of current bluegrass and Americana artists, and you’ll likely find Shandi Gandhi. Those include artists such as Alison Krauss and Parker Millsap, along with several Sarah Jarosz records. She also mixed Kelsea Ballerini’s hit single “Peter Pan.”

Ebony Oshunrinde a.k.a  WondaGurl is a beatmaker and producer from Brampton, Ontario.

A video of Timbaland in the studio inspired nine year old Ebony to teach herself how to produce. After winning Battle of the Beat Makers at 16, she sent a beat to Travis Scott. Next thing she knew, the rapper was calling to let her know her production was going on Jay–Z’s record next record. WonderGurl became one of the youngest women to have production credits on a platinum hip-hop record— Jay-Z’s Magna Carta:Holy Grail”.  

Even after a couple of years, have these striking features and interactions led to significant change? It is hard to say whether there is a new wave being trained right now who will help the statistical bias but I hold hope that things are going to move in the right direction. I do worry about the lack of music courses taught in school and the fact so many young women are only discovering engineering at a college/university level. One needs to impart messages of equality at the school level and make engineering courses more viable; breaking gender stereotypes and encouraging a more mixed studio environment. I want to bring in one final article that shows there are some terrific females working in studios but, perhaps, there are other factors that are keeping women at bay:

 “Today, prominent female producers include Sylvia Massy, Sally Browder, Leslie Ann Jones, and Kara DioGuardi. There’s the rapper Missy Elliott, who has built a well-regarded career as a producer; Linda Perry from 4 Non Blondes, who has worked with artists like Pink and Christina Aguilera; and Tokimonsta, a classically trained pianist who has worked with Kelly Rowland. Still younger rising stars include WondaGurl, a Canadian beatmaker who has been producing since she was 9 years old and who famously worked with Jay-Z when she was 16.

The impressive individual accomplishments of these women, however, don’t change the overall systemic picture—the fact that list after list from music publications ranking top producers often don’t include a single woman. Billboard’s 2016 Power 100 list only has 14 women on it, with none in the top 10. No woman has won the Grammy for Producer of the Year (Non-Classical). In the award’s 43-year history, there have been only six women nominees for that category: Janet Jackson, Mariah Carey, Paula Cole, Lauryn Hill, Sheryl Crow, and Lauren Christy, who worked with Liz Phair and Hilary Duff.

Difficulties that women face in other jobs are only amplified in a heavily gender-skewed field like audio. Getting pregnant and having children can come with career-defining consequences. The hours are long and unpredictable, which can take a toll on family life, and there’s a constant pressure to stay relevant: In the competitive music world, even a brief hiatus can open the door for someone else to take your job. “There’s no taking time off and saying, ‘Here’s my replacement,’” says the sound engineer Shani Gandhi, who at 29 has already won a Grammy for Best Folk Album as engineer on Sarah Jarosz’s album Undercurrent. “If you don’t work, you’re not making money.” This lack of stability makes it even more financially risky to have a family. Most audio professionals are self-employed, which means health care comes out-of-pocket, and there are no benefits like paid maternity leave.

Some areas of music are accelerating quicker than others regarding gender divides but I do feel women, as we have seen with some case studies, are invaluable and can take music to new levels (no pun intended!). The quicker we encourage more women into engineering roles and smash the assumption the studio is a man’s domain, the richer music will become. It might take a while before the gulf is shrunk but it is important to augment courses and faculties that encourage women into engineering. Also, attitudes that pervade suggesting women in studios are second-class or are not natural engineers…we need to dispel that. We are seeing more and more women become producers and produce sensational work - so I think it is only a matter of time before we see more women becoming engineers. I hope so, anyway. The current statistics (the number of male engineers compared to women) are stark but, with action, altered attitudes and a more open-minded cultural mindset, I think we will see…

 PHOTO CREDIT: @dillby777/Unsplash

SOME genuine improvement.  

FEATURE: Spotlight: Sampa the Great

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Priitt Siimon 

Sampa the Great

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I keeping saying how this year is a hot one…

 IMAGE CREDIT: Sampa the Great

for music and, lo and behold, that sense of desire and confidence is not running dry! I am still unsure regarding my albums of the year so far but, when it comes to singles, there is no doubt: the leader is Sampa the Great with her single, Final Form. If you have not heard the song then you really need to! It is a swaggering, swivelling and fiery declaration that gets right into the brain and will not shift. I first encountered the song a few weeks back and, upon the first listen, I was blown away. It is one of the most intense and memorable songs I have heard in years and I am still not bored of it – despite the fact I have been playing it for ages! You get these songs that arrive out of nowhere and sort of do what they need to do when you need them, if you see what I mean. Reacting to the Final Form song/video, ABC described it thus:

 “First up, the beat is incredible, flipping 'Stay Away From Me' by The Sylvers (a '70s funk track once sampled by Ghostface Killah). Producer Silentjay knows it's hot, that's why he gives it a full 40 seconds breathing room in anticipation of Sampa's boss bars.

Sharp and stylish, she sounds fierce ('Nah knock the walls off/F**k the whole key we gonna hinge the whole door off'), riffs on her 'Black Power!' identity and rising status ('24 years/fantastic/young veteran/new classic'), and even slips in a classic pop culture reference to The Matrix.

Tying the whole package together is the music video. Directed by Sanjay De Silva, it takes the tour de force cultural aesthetic of a Beyoncé or Rosalía video and uses it showcase Sampa's cultural heritage in a vibrant, visceral way. Shot between Zambia and Botswana, where Sampa was born and raised ("by a Bemba mother and Tumbuku father") it draws connections between the African artistry of the past and present day, as Nyau dancers bust moves in the marketplace and the streets.

But it's the spirit of 'Final Form' that really matters most. Sampa says the song "is about expanding yourself and calling out any negativity towards that growth process". She's only four years into her career but been raved about and accomplished so much, but she's still probably got untapped reservoirs of potential”.

There is talk that a Sampa the Great album is not too far away. I think it would send 2019 over the top regarding female power because, if the songs are anywhere near as good as Final Form, it will rival the best of 2019! Her last album, Birds and the BEE9, was released in 2017 and it is a truly stunning work. It is hard to describe where the music comes from, in terms of inspiration, but, as detailed on her Bandcamp account, this is the best way to view Sampa the Great and that album:

“Born in Zambia, raised in Botswana, her upbringing continues to bear an influence on her music. Moving to Australia four years ago, the connections she made there have propelled her to where she now stands. Living in Sydney when she first arrived, it was the shock of losing a close friend which prompted her to take the leap to try to become an artist. Going to the city’s weekly Jazz Hip-Hop Freestyle sessions for the first time, she went onstage to join the band and continued to go there each week, building up a network of likeminded music heads.

"Birds And The BEE9" arrives after a mixtape and series of EPs and singles which have attracted an increasing swell of support in Australia and beyond. Meeting through that freestyle night, it was with producer Dave Rodriguez (Godriguez) that she made 2015’s “The Great Mixtape”. She linked up with Godriguez again for the 'Blue Boss' single, followed by 2016’s "Heroes Act 2" which she worked on with Estelle and Rahki as part of a project with Red Bull Sound Select.

PHOTO CREDIT: Getty Images 

Expanding the scope of her collaborators for this release also meant honing her idea of what she wants to create. “I’ve only been doing this for two years professionally,” she says. "It was important for me as things continued to grow to take a little time to step back from everything and say, ‘This is what I want to do with my music.’ Music is the way I express myself, the way I reflect on life, reflect on the things that I’ve experienced." 

A trio of different producers have helped her realise her vision for ‘BBEE9'. First up, there’s Kwes Darko who’s put out his own critically-lauded LPs for Black Acre and R&S. There’s Justin Smith (aka Sensible J), who is the producer and drummer for Melbourne’s much-touted REMI. And finally, there’s Alejandro ‘JJ' Abapo (aka Silentjay), another Melbourne-based producer who’s put out in-demand EPs for Rhythm Section and been in the band for Australian trailblazers Hiatus Kaiyote.

This new mixtape showcases the qualities which were already evident in those first releases. Boasting an unhurried, assured delivery, it’s the perfect foil for a self-aware, spiritually minded perspective. In 'Can I Get A Key', for instance, she shines as both a singer and MC while bemoaning the gatekeepers who maintain the rarefied, exclusive nature of the art world. Set against a backdrop of rumbling sub-bass, she sings a defiant chorus – in harmony with an earworm-like, softly-played sax refrain – before diving into ridiculous, tongue-twisting lyricism set down with her customary offhand delivery.

The reaction to Birds and the BEE9 was pretty positive and, with new work in the world, there will be many asking when the next album is due. We must be patient but, when thinking about Sampa the Great’s blends, one can definitely hear her upbringing and roots running through every note; the backbone that gives her songs such fizz, depth and personality. It is wonderful hearing her music unfold because, not only do you get that sonic hit but there are scents, emotions and touches that take you into her world.

Before you leap ahead and see where Sampa the Great is going, investigate her older work and you can see how she has evolved and what she has accomplished through the years. If we want to get a full impression of Sampa the Great and how she got into music, there are some great interviews out there. This one from Huck last year is especially illustrating and got to the roots of the songwriter:

“Do you remember your first introduction to hip hop?
I went upstairs to my cousin’s bedroom and he was playing ‘Changes’ by Tupac. Everything stopped. It sounded like poetry and music together. Then ‘Until The End Of Time’ played and I was like, ‘Woah… what is this?’

Why do you think it resonated so much?
It was different but familiar as well. I guess I saw the similarities with music that I listened to, where it sounded like people were speaking on top of a song, rather than singing. That is what rap is to me: poetry spoken over beats. I was hooked.

When it comes to plotting your journey as an artist, which moments really stick out for you?
My parents were visiting and we were showing my mum a video of me performing. Later, when everyone has gone to sleep, I come out of my bedroom to get some water and walk into the kitchen… My mum is sitting there alone, in the dark, and all you hear is her cheering. I was like, ‘Mum, what are you doing?’ and she just stares at me, looks back at the TV screen and puts her arm by her cheek”.

This year is busy with quality and promise but one cannot discount Sampa the Great. I think she has the promise to be a future icon and I think she can guide and influence other artists. Not only is her recorded music a blend of her upbringing, musical tastes and what is happening around her; her live sets brings details and movements from the music that blow you away. If you can see Sampa the Great in concert then go and catch her as she is a mesmeric proposition! In terms of what she can do in the live arena, she is someone you’ll certainly want to go and see. I have been looking at a review from The Guardian from last year that encapsulates what defines Sampa the Great: 

 “Her dense, dark flow has as much in common with MF Doom and Kendrick Lamar as Ms Lauryn Hill, who she’s most often compared to. She scrunches her mouth up so the words curl out in a crimped, rhotic drawl over the glimmering arrangement drenched in neo-soul and funk. Her inflections and phrasing are deliciously angular, her consonants crisp and sticky at the edges like honey toast, her voice slipping between crinkled spoken-word tumble and fluttering, breathy soul.

The effect of the stage set-up in the Metro is both welcoming and regal. Song titles, subtle animations and stars are projected on the wall beside the stage, adding a theatrical edge, and warm keyboards drift and twinkle between songs, never quite fading away. Her stage presence is unassuming but effortlessly charismatic. She beats her chest a little with a fist as the crowd roars, after a superhuman run of rapid-fire bars that pushes past where most mortals would need a breath; she raises a finger deliberately to point to her skin while talking about wanting to make her little sister feel beautiful”.

PHOTO CREDIT: Getty Images 

Spotlighting Sampa the Great makes me happy for a number of reasons. For a start, she is based in Melbourne and I rarely get a chance to back any Australian artist – it is a rare delight I want to experience more. Also, with Final Form out, there is this tasty and addictive song that suggests something big is about to arrive. Sampa the Great is that rare combination of intriguing songwriter, icon-in-the-making artist and a truly original live performer. Throw into the mix the fact she is still relatively under the radar and you believe that the next couple of years are key – where she will carve up the music world and put out some utterly wonderful albums. Spend some time her way and check out what she has put out already because, very soon, another album is due. I cannot wait because, in a music world that is filling up with greatness and surprise, Sampa is occupying a space all of her own. I keep banging on about Final Form but I really cannot overstate its power and effect. It is a song that defines 2019 and is a step up from Sampa the Great. The way she weaves sounds and presents these thoughtful, culture-blending lyrics; the might and nuance in her voice and the spellbinding effect she has. Some of you might be unaware of her place and voice but, after a few short minutes, it is clear why Sampa the Great is truly worthy…

OF her name!  

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Follow Sampa the Great

FEATURE: His Ultimate Masterpiece? Prince’s Purple Rain at Thirty-Five

FEATURE:

 

 

His Ultimate Masterpiece?

Prince’s Purple Rain at Thirty-Five

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THERE are some big albums…

 IN THIS PHOTO: Prince on stage at the Joe Louis Arena in Chicago on 11th November, 1984/PHOTO CREDIT: Mike Maloney/Mirrorpix/Getty Images

that are celebrating anniversaries this year but, sneaking into view now is the remarkable Purple Rain by Prince. To be fair, the album didn’t so much as sneak but I sort of forgot it was turning thirty-five today (until two days ago)! That is okay because, as other websites and stations mark the album’s anniversary, it gives people a chance to realise just how important and mesmeric the album is. Released on 25th June, 1984 by Warner Bros. Records, Prince penned all of the tracks on the album – except for a few suggestions and contributions from his band members. This was the first album from Prince’s band, The Revolution, and it was a much denser affair. Less lean than previous outings, Purple Rain felt much more like a band performance; utilising synths, guitars and electronics to electrifying effect. 1982’s 1999 was received with huge praise by critics and, not wanting to change too much, Prince kept the slinky R&B and vibes and added in something more rocking and raw. I love that one-two of 1999 and Purple Rain because, not only are both albums world-class, but you can see a development and evolution. Purple Rain is the soundtrack from the film of the same name (released in July 1984) and is this intoxicating mix of accessible Pop with experimental elements; lyrics that switch between sexual desire and romantic breakup. Because of the varied sonic blends and the wide-ranging lyrics, Purple Rain was an instant hit and remains one of Prince’s most-cherished albums – I consider it to be his very best. 

Whether you love the bass-less When Doves Cry or the sweaty, rapturous Darling Nikki, Purple Rain has something for everyone. You do not need to see the film to gain context and understand the album itself. Sure, seeing the film does give you some explanation but, really, Purple Rain stands on its own feet as an album; a collage of different genres that mixes in this extraordinary tapestry. It is the way Prince expands on his Funk and R&B base and throws in Rock, Pop and Metal that makes Purple Rain so daring. One might assume such an eclectic album would take a while to resonate and find a home in the mind but, from the first listen, you are hooked. One of the reasons we are still discussing Purple Rain such fond terms is because it is hugely nuanced and confident. Prince was able – on Purple Rain – to be populist and embrace the mainstream but thrill those who yearned for something more experimental, genre-hopping and original. Not only did Purple Rain inspire change in Prince and nod at where he would head but (the album) other artists started taking note. At a time in popular music where Madonna and Michael Jackson were reigning, Prince was staking his claim to his own thrown – joining the Queen and King of Pop. Purple Rain is quite balanced in terms of where the hits fall. Side one has Let’s Go Crazy leading things and ends with Darling Nikki; When Doves Cry opens sides two and, to end the album, Purple Rain provides a suitable sense of drama and wonder!

Reviews in 1984 were incredibly positive and, in terms of contemporary acclaim, critics still cannot get enough of Purple Rain. Here is AllMusic’s assessment:

 “Even its best-known songs don't tread conventional territory: the bass-less "When Doves Cry" is an eerie, spare neo-psychedelic masterpiece; "Let's Go Crazy" is a furious blend of metallic guitars, Stonesy riffs, and a hard funk backbeat; the anthemic title track is a majestic ballad filled with brilliant guitar flourishes. Although Prince's songwriting is at a peak, the presence of the Revolution pulls the music into sharper focus, giving it a tougher, more aggressive edge. And, with the guidance of Wendy and Lisa, Prince pushed heavily into psychedelia, adding swirling strings to the dreamy "Take Me With U" and the hard rock of "Baby I'm a Star." Even with all of his new, but uncompromising, forays into pop, Prince hasn't abandoned funk, and the robotic jam of "Computer Blue" and the menacing grind of "Darling Nikki" are among his finest songs. Taken together, all of the stylistic experiments add up to a stunning statement of purpose that remains one of the most exciting rock & roll albums ever recorded”.

There are new assessments of Purple Rain thirty-five years down the line but, looking through the archives, there are plenty of articles that highlight the album’s impact and unique sound. Pitchfork, writing in 2016, revisited the album and provided this review:

 “With Purple Rain, Prince bursts forth from the ghetto created by mainstream radio and launches himself directly onto the Mt. Rushmore of American music. He plays rock better than rock musicians, composes better than jazz guys, and performs better than everyone, all without ever abandoning his roots as a funk man, a party leader, a true MC.  

The album and film brought him a fame greater and more frightening than even he imagined and he would eventually retreat into the reclusive and obtuse inscrutability for which he ultimately became known. But for the 24 weeks Purple Rain spent atop the charts in 1984, the black kid from the midwest had managed to become the most accurate expression we had of young America’s overabundance of angst, love, horniness, recklessness, idealism, and hope. For those 24 weeks at least, Prince was one of us”.

How did Prince affect music in 1984 and play his part in modern culture? One can look at Purple Rain from a simple music vantage but, when you consider the political and social scene in America in 1984, one must retune and reconsider the impact of the album. Billboard looked at Purple Rain this time five years ago when celebrating the thirtieth anniversary. They put Purple Rain into context and underlined why Prince was being taken to the collective bosom:

 “In 1984, there was only one man in America more popular than Ronald Reagan. His name was Prince, and he was funky.

When “Purple Rain” arrived 30 years ago on June 25, 1984, a few weeks had passed since Bruce Springsteen dropped “Born In the USA.” Five months later, Madonna would release “Like a Virgin.” Of those three monumental ’84 albums, only “Purple Rain” doesn’t suffer from dated production, and with its mix of sexy dance-pop and rugged all-American rock ‘n’ roll—not to mention funk, soul, psychedelia, and gospel balladry—it embodies a lot of what people loved about the other two.

IN THIS PHOTO: Prince in 1984/PHOTO CREDIT: Lynn Goldsmith 

The “Purple Rain” movie debuted at No. 1, and the album spawned five hit singles, two of which—“When Doves Cry” and “Let’s Go Crazy”—topped the Billboard Hot 100. To date, it’s sold some 20 million copies—a great many of those replacements for all the records, tapes, and CDs literally played to death by hardcore fans.

“Purple Rain” is that rare critical and commercial success that justifies every scrap of hyperbolic praise. Six albums into his career, Prince had found a terrific band in the Revolution and figured out how to sell his freakiness in malls and movie houses across the country. Read on to get our track-by-track take on an album that briefly had pop fans, punks, metal heads, moms, dads, cheerleaders, accountants, and just about everyone else in the world not named Tipper Gore pledging allegiance to the same purple freak flag”.

Do the songs stand up after thirty-five years?! Certainly, one can argue albums from around that time do not sound as relevant and incredible as they did back then – both Madonna’s Like a Virgin and Bruce Springsteen’s Born in the U.S.A. were released in 1984 and, perhaps, have not aged as well as Purple Rain. If Madonna was blossoming and throwing off the innocent of her debut; if Bruce Springsteen was creating these huge anthems, Prince was charting his own course and staking his claim as a true original.

Purple Rain as a complete work is astonishing but, as this article explains, if you investigate some of the biggest songs, they offer a lot if you dig deep:

“One of them was a pleading romantic number called When Doves Cry, its guiding bassline stripped away to leave only a vague sense of discomfort behind. Purple Rain – the autobio­graphical backstage musical film, and the accompanying soundtrack album – was saved.

That album, buoyed by indelible singles like When Doves Cry, Let’s Go Crazy and the epochal title track, would go on to sell 13 million copies, rival Michael Jackson’s Thriller as the album of the decade, and tower like a colossus over the career of one of the great pop singers, guitarists, and iconoclasts of his era. “My albatross,” Prince would later describe it; “it’ll be hanging around my neck as long as I’m making music.”

Prince had initially asked Stevie Nicks to compose lyrics for Purple Rain, writing them himself only when she respectfully declined. And he was so concerned about potentially ripping off another recent radio hit that he called Journey’s keyboardist and played the song over the telephone, in order to make sure that the band would not take umbrage at the similarities between Purple Rain and their Faithfully. Purple Rain is the great ballad of the 1980s in part because Prince embraced his inner arena-rock god.

Let’s Go Crazy is alert to Prince’s complexities (spiritual and erotic, solo and collective, open and closed), as well as the particular possibilities of 1984, when future African-American superstars like Michael Jordan, Oprah Winfrey and Eddie Murphy burst into the mainstream, but the book’s latter half is too consumed by irrelevant matters like Apple’s famous Macintosh commercial of that year. Light is a light-fingered and amusing guide, but occasionally loses sight of the main thrust of his narrative”.

Not only did Purple Rain redefine 1984 and music at the time but he was to impact other genres and sections of society. This article explores Prince’s influence on Dance and how some of Purple Rain’s songs were being picked up by other artists and D.J.s:

 “Prince’s influence on dance music though goes way beyond ‘Purple Rain’. Introduced to the Detroit masses by pioneering radio host The Electrifying Mojo, he went on to heavily influence techno godfathers Juan Atkins, Derrick May and Kevin Saunderson: The Belleville Three. In fact, so close was Prince’s relationship with the Motor City, that on his 1986 tour, he gave his only interview in five years to the radio enigma. The interview was later sampled by Moodymann on 2001’s ‘J.A.N.’ Meanwhile in Chicago, ‘When Doves Cry’ became a staple in Ron Hardy’s sets, Frankie Knuckles regularly played ‘Controversy’, while Trax Records founder Vince Lawrence released a song on its sister label Precision titled ‘Funny Love’ by an artist called Dezz 7 — a not-so-subtle reference to former Prince guitarist Dez Dickerson. Slathered in Linndrum and gated reverb effects, it’s a clear attempt to re-create Prince’s unmistakable sonic signature. The Purple One’s DIY attitude was also a huge influence in the early days of house and techno, as he turned his back on major labels, played every instrument, and continually pushed the limits of drum machine and synth technology…

But it was with ‘Purple Rain’ that Prince redefined his trajectory and took unprecedented musical, creative and commercial risks. His intense relationship with The Revolution led to a split in 1986, but their familial bond and creative competitiveness pushed both Prince and his band to new artistic heights. Although the group had no idea how they’d be credited, or if they’d be credited at all, until they saw the album sleeve, their classical, funk, R&B, pop, rock and even psychedelic influence defined ‘Purple Rain's mass appeal, and gave a depth to The Purple One many argue he would never repeat again. Drummer Bobby Z later told Billboard: “I think The Revolution was the last band Prince was really in — he was the band leader after that”.

Prince would write other classic albums after 1984 but I do not think he soared as high, free and loudly as he did on Purple Rain! Maybe it is the fact there are so few tracks on the record but you get so much: there is no waste and, in fact, you are left wanting more by the time Purple Rain trickles from view. Whether you prefer the raunchy and seductive Prince or the pastor of the Church of Fun; the epic shredder or the man who can bring you to your knees…everyone is left satisfied by Purple Rain. It is as iconic an album as any created and, after thirty-five years, new ears will discover it. I mentioned earlier how some albums released in 1984 sound dated but, if anything, Purple Rain sounds more alive, special and striking than it did as recently as a few years ago. It is such a tragedy that Prince is no longer with us but, when listening to his ultimate masterpiece, you feel like he is still with us; an essence and spirit that comes from the speakers that time and memory can never take away. It is worth watching the Purple Rain film – because it is pretty bitching – but, if not, spend some time and play the album in one go. It is a stunning testament to a man who, several years after his death, is still putting music out into the world! Everyone has their personal favourite Prince album but, when you think about the sheer quality, effect and timelessness of Purple Rain…

IS there anything that can equal it?!  

FEATURE: Memorable First Times, Guitar Chat and These Three Works: Podcasts and Radio Shows That Get Under the Skin of Artists

FEATURE:

 

 

Memorable First Times, Guitar Chat and These Three Works

IN THIS PHOTO: Natalie Merchant is one of the guests on John Wilson’s new podcast, These Three/PHOTO CREDIT: @These3Three

Podcasts and Radio Shows That Get Under the Skin of Artists

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IN tomorrow’s feature…

 PHOTO CREDIT: Getty Images

I am celebrating Prince’s Purple Rain at thirty-five but, right now, I have been thinking about the way we view music and digest records. I have just written a feature regarding music documentaries and the fact we do not really have many of them around right now. Once was the time, not so long ago, when music documentaries were common: whether it was a study of a classic album or the celebration of a musical movement, it was wonderful immersing yourself in these fantastic, detailed shows. There are documentaries I would like to see on T.V. and I do wonder whether, in a streaming age, we are less concerned with the visual and more fixated by the quick and easily-accessible song. T.V. is one area we need to preserve and promote but, as podcasts and radio still hold huge power, maybe music T.V. has mutated into podcasts and radio shows. Even with our audio options being open and limitless, how many options are out there when you want to hear your favourite artists undressed and open? I know there are a few interviews series but, with a new podcast out, These Three, it adds to the already-excellent The First Time with… He will forgive me for mentioning his show a lot but, hosted by Matt Everitt, The First Time with… brings musical figures to the microphone and explores their first records, gigs and memories.

I think I have written a feature about it before – my mind does get a bit blurry considering the amount of work I put out! – but you can listen to the series here. The most-recent edition focused on Tame Impala’s Kevin Parker and, like all the other broadcasts, it was funny, informative and revealing. One reason why I wanted to refocus on Matt Everitt’s series is because it continues to compel and inspire me. Like Desert Island Discs, it is a chance to hear popular figures in deep conversation. There is a book available – that collates some of the best guests from The First Time with… and I think the series (if that is the right word?) will continue for years. I do think that, as we want something instantly and love our music super-quick, maybe we are spending less time getting to know artists. How often do we go out and buy music biographies and general music reference books? Apart from the fact I am re-reading (for the xth time) a Kate Bush biography (for research purposes/the million-to-one shot I will get an interview with her one day), I do spend a lot of time reading music books – I am also ploughing through a couple of books concerning The Beatles. If music T.V. has declined and we have fewer documentaries out there than we should, I do feel like we need more options like The First Time with…

I adore music of all shapes and sizes but, when you get to learn more about the artist and where they came from, it links you to other artists and sounds. It is almost like a sample in a Hip-Hop album: one hears the original song but, nestled between the beats, there are other tracks that take your mind in all directions. Radio shows like this are also valuable because many people do not have the time to sit down and read; they might not have a moment to catch a T.V. show but, as they can take things like The First Time with… in their ears, you can hear conversations with your favourite artists on the go, whilst commuting or, if you fancy, when out jogging or on the can! Whilst his podcast is a little broader, another one of my favourite broadcasters, John Wilson, has launched These Three. Like First, Last, Everything on Radcliffe and Maconie’s weekend breakfast show (on BBC Radio 6 Music) Wilson’s podcast focuses on the power of three. In this case, he asks guests about a work they have made, one they wish they had made and, looking ahead, one they are working on now. You can listen to John Wilson’s These Three at your leisure so check out the podcast’s official site and you can take it wherever you go. Wilson talks with actors and artists but, for the music fans, there are talks with Natalie Merchant, Paul Weller and Tom Odell.

Like Matt Everitt’s warm conversations with great musicians, Wilson hones to three works and asks a question I think everyone in the art has considered: Which work do we wish we had written? From a music perspective, songs are under the microscope. It is fascinating seeing Wilson and people like Paul Weller, in a studio, chatting about music and such. I am a big fan of Weller and to hear him chat about his future plans and a song that is dear to him (I will not spoil things by revealing his choice), it does give you a new perspective. I am not sure how many more episodes are coming in this series but, from Hayley Atwell (actor) and Kwame Kwei-Armah (actor and playwright), These Three is an illuminating and addictive series. I hope it does continue and runs for many series but after six episodes, it has proved popular and gained some good reviews. Miranda Sawyer, in this review, highlights These Three and Wilson’s interview style:

“In which John Wilson, he of Radio 4’s Front Row and Mastertapes, branches out into his own podcast. Wilson is a culture vulture of eminent standing, and his interviews are always informed and intimate. In this new show, launched last week, he talks to musicians, actors, directors and artists about three works: one they made, one they wish they’d made, and one they’re working on right now. The first interviewees are Hayley Atwell, Paul Weller, Kwame Kwei-Armah, Natalie Merchant, Tom Odell and Jonathan Yeo. Great idea, beautifully executed. Recommended”.

There are other music podcasts that dig deep and take an almost forensic approach to memories and aspirations and, between Everitt and Wilson’s projects, it provides a chance for passionate music lovers to learn more about great artists – whether it is their favourite songs, early memories or songs they wish they’d written. I am not sure whether there are other podcasts/shows similar in nature but, to me, you need to check out The First Time with… and These Three. A third I will add is probably reserved for those who love their guitars over everything else. One will forgive me for not including audio samples of The David Gilmour Podcast (from Apple rather than YouTube, that is) but I have not figured out how to! The iconic Pink Floyd lead has just sold some of his guitars to raise money for ClientEarth – a charity that is dedicating to fighting climate change. You can read the story here but, as you can tell, the money raised is eye-watering. One suspects that a knighthood cannot be far away considering the great work Gilmour has done through the years. Although some of the instruments sold were featured on The Dark Side of the Moon, Gilmour talks us through some of his favourite guitars and why they mean a lot to him. I do love the fact there are series that feature musicians and their memories but it is great this iconic figure is talking about his guitars!

I urge everyone check out David Gilmour’s podcast and, whether you are a guitar nut or not, it is a wonderful way to spend some time. Not only can you discover more about Gilmour’s process and passion but you learn something about these cherished guitars. Listening to Gilmour talking so intently leads me to think there is legs in the idea of musicians talking about their instruments. At a time when schools are scrapping Music on the curriculum and we are worrying about the future, it is more important now more than ever to keep the beauty and purity of music alive. Gilmour is not the only person bringing us an instrument-based podcast but, having such a reputation, he will help others pick up a guitar and get into music. If streaming and disposable music makes it easier for us to soundtrack our day and discover the best new acts around, I do feel like we need to slow down once in a while and focus on a longer, more passionate piece. Whether that is a podcast or interview series, we not only get to listen to music but learn something in the process. It would be interesting to know whether other people have podcast recommendations or have found a radio series that appeals to those who want to know more about the artist – rather than merely scratch the surface. Whether you want to dig deeper into Gilmour’s guitar collection, discover the ‘first times’ of musicians across the spectrum or discover some song-specific stories from some great musicians, I have some recommendations that are worth…  

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 PHOTO CREDIT: @juja_han/Unsplash

FOLLOWING closely.  

FEATURE: Black and White: Ten Years After His Death, Will the King of Pop Ever Win Back the Media and Radio?

FEATURE:

 

 

Black and White

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IN THIS PHOTO: Michael Jackson in 1983/PHOTO CREDIT: Getty Images 

Ten Years After His Death, Will the King of Pop Ever Win Back the Media and Radio?

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IT was hard titling this feature…

 PHOTO CREDIT: Getty Images/Press

because I know what I want to ask but it is tricky translating that into words. If you type ‘Michael Jackson’ in a search engine, chances are you will get a lot of news stories relating to painkiller addiction and something scandalous. I have just done this and there are waves of stories relating to Michael Jackson being abusive or cold; something tawdry and awful. Yesterday, there were articles relating to Jackson and drugs; before that it was something different – it seems that every day the media finds something new regarding Michael Jackson; a chance to poke the deceased star and dump muck onto his grave. I can appreciate we cannot ignore any allegations and assume people are doing it for attention but, more and more, the media wants to focus on the bad things and ignore his legacy. This article from The Daily Mirror shows you what I am talking about:

“The Thriller singer died from acute Propofol intoxication and a golden casket thought to contain his body was installed in a crypt in California.

However, it has now been claimed he was secretly cremated – with reports saying his kids had his remains encased in jewellery shaped like broken hearts.

A source claimed: “The ashes are now in necklaces. Paris and her brothers keep them in locked boxes at home, as they’re afraid of losing the last remains of their father.”

While Paris believes she was conceived in France, her mum Debbie Rowe claims she never had sex with Michael despite bearing two of his kids”.

The article relates to Jackson’s daughter, Paris, and the fact that she is marking ten years without her father. One can imagine, two days from that anniversary, she is feeling pretty sad and it has not been an easy past year for her. Every report regarding Jackson, even if it is about his death and family, feels the need to add something toxic and unnecessary into the mix.

Another article that has just been published concerns his former wife, Lisa Marie Presley:

“Elvis’ daughter, now 51, was wed to the singer between 1994 and 1996 as he battled a sexual abuse allegation against child Jordan Chandler.

Sandy Domz worked as an administrative assistant at the Neverland Ranch while the pair were together.

She claims Jacko taped his wife’s conversations to keep a close eye on her – but always chose to spend time with children instead of Presley.

Sandy told CBS documentary Inside Edition: “He wouldn’t tape her phone calls if she wasn’t on the ranch, she wasn’t a priority.

Along with four other employees, Sandy tried and failed to sue Jacko for mistreatment at the ranch.

Melanie Bagnall, Kassim Abdool, Ralph Chacon, Adrian McManus and Sandy said they were harassed and threatened by security guards before being fired or forced to quit in 1994.

Ex-maid Adrian was also called as a prosecution witness during Jacko’s 2005 trial, where he was accused of molesting 13-year-old boy Gavin Arvizo and eventually found not guilty.

She claimed Jackson’s private security outfit would issue death threats and intimidate staff and children to stay silent.

One does not have to look too far to see yet another article that mentions something darker – this one concerning an interview Janet Jackson conducted with The Sunday Times. Here, in Metro, they have taken up the story:

“Speaking to The Sunday Times Magazine, Janet said: ‘It will continue. ‘I love it when I see kids emulating him, when adults still listen to his music. It just lets you know the impact that my family has had on the world.’ Michael died on 25 June 2009 at the age of 50 following an overdose of the powerful anesthetic propofol.

Janet’s other family members, including nephew Taj Jackson, have been vocal in supporting Michael over the serious allegations. Michael’s brothers, Marlon and Jackie, claimed the controversial Leaving Neverland film ‘did not present any evidence’ to prove their brother’s guilt. During an appearance on ITV’s Good Morning Britain earlier this month, Marlon said: ‘No I have not seen it. But I’m not interested in seeing something where someone’s telling a story that do not present any evidence or facts about anything. ‘These type of things always come up, this isn’t the first time. When you’re in this business they take shots at you and people try to make money off you. This is one of those moments.’ He added: ‘Yes it’s been difficult for us but we get through it. We manage to get through it through the blessings of the lord who is in control of everything, so I’m not worried.’”

A lot of the negative press and attack stems from the documentary, Leaving Neverland, where Wade Robson and James Safechuck alleged they were sexually abused as children by Jackson. One can never say for certain whether the allegations hold weight and, to be fair, a lot of the judgement aimed at Jackson was based on perception and gut feeling rather than evidence. I am not dismissing Robson and Safechuck. We must treat their accounts with respect but, as Jackson is not alive and there is never any way we can ever know what happened, it seems like people have made their minds up. I have read numerous articles where journalists reacted to the documentary and expressed how horrified they were; the fact they will never listen to Michael Jackson’s music and how horrifying it is. I can understand, were the allegations proven true, how some would feel uneasy regarding Jackson and his music. We can get into a debate regarding separating the artist from the music but, from a purely legal stance, nothing has been proven. Even if there is a 99% certainty Jackson is guilty, it is reckless and one-sided to write him off. Before Leaving Neverland, there was never a lot of love for Jacko anyway. I remember when he turned sixty on 29th August of last year. Instead of articles celebrating his music, there was the usual heap of tabloid and gossip. I am not naïve enough to paint Michael Jackson as a saint and, to be fair, his eccentricities and behaviour though the years has been troubling.

Regardless of the abuse he suffered as a child and the way the media have been hounding him, there is never any provocation to inappropriately touch young fans or cross that line. That is always wrong and, if everything discussed in Leaving Neverland was true, we would need to have a discussion as to whether his music should be played on the radio. I still maintain everyone is entitled to make their own decision regarding that call but, when nothing has been proven in a court of law, removing his music from the playlists is irrational. Sure, there might be some uneasiness at first but why do radio stations still block his music? I have not heard a Jacko song for months now and it seems like that ban is continuing indefinitely. Not playing his music is a personal decision but, in the case of Michael Jackson, the decision has been set. It seems, to the media at least, that Michael Jackson’s legacy is ruined and he has no real place in music. One can only imagine the articles that will appear online on Tuesday. There will be very little written about Jackson the Pop innovator and how he has inspired countless artists. He pretty much rescued MTV back in 1983…

 

The station was not showing videos from black artists and, when Jackson’s Thriller stormed the charts, his videos could not be ignored. He became a global icon and helped revive this flagging station – which, in itself, would become an icon soon enough. It is not just that moment. Peel away the press intrusion and any personal issues and you have an artist that has transformed music and changed the game. It seems, where once his music was being celebrated, it is fresh revelations that threaten to tarnish his great work. This article from Rolling Stone talked about Jackson’s popularity in the wake of the Leaving Neverland documentary:

“Radio and streaming numbers could be a bellwether for Jackson’s legacy and the financial viability of his estate. In the days after Leaving Neverland premiered, per Nielsen Music, Jackson’s spins on U.S. radio dropped from about 2,000 a day to 1,500 a day, while several stations in New Zealand and Canada announced they would stop playing his music altogether. But, according to Nielsen, on streaming services like Spotify and Apple Music, Jackson’s solo music notched 16,497,000 streams in the week after the documentary aired on March 3rd and 4th — falling squarely within his typical range of 16 to 17 million plays-per-week. Additionally, Jackson’s music remains on several big Spotify playlists, including “All Out 80s,” which boasts nearly 5 million followers (his artist-specific playlist, “This Is Michael Jackson,” has more than 1 million followers).

Among the general public, Jackson’s legions of still-devoted fans have vociferously defended him at every turn. They’ve swarmed the Twitter mentions of public detractors and even crowd-funded a series of ads proclaiming Jackson’s innocence that briefly appeared on buses in the United Kingdom.

But opposition has grown as well. The activism team at Care2, a social network that connects activists around the world, launched a petition urging the Mandalay Bay Hotel and Casino in Las Vegas to remove its statue of Michael Jackson and cancel its in-house Cirque du Soleil show, “Michael Jackson One.” The petition has over 12,000 signatures, but since the premiere of Leaving Neverland, “One” has continued to run, twice a day, uninterrupted. Though Cirque du Soleil declined Rolling Stone’s request to comment on ticket sales, a quick perusal of the show’s website reveals that most seats for all upcoming shows have been sold”.

Another train of thought – as explored in this piece from The Guardian - is that Jackson’s legacy is more important and bigger than Michael Jackson himself:

“Michael Jackson’s legacy is bigger than Michael Jackson, right?” said New York Times critic-at-large Wesley Morris on the Daily podcast. “We can’t cancel Michael Jackson because cancelling Michael Jackson means cancelling America in some way. Not just our love of [the] music, but our sense of who we are as a people.”

Jackson family members issued a statement calling Leaving Neverland a “public lynching” and a “tabloid character assassination” that revisits previously rejected claims. Jackson was cleared of child molestation charges by a California jury in 2005. The Jackson estate is now suing HBO for $100m for allegedly violating a non-disparagement clause related to a contract the network signed in 1992.

Meanwhile, a vast global army of fans have mounted defences on social media. Jackson supporters have flooded the internet with rebuttals to the documentary, questioning the credibility and motives of Robson and Safechuck”.

We cannot ignore and dismiss any allegations of sexual abuse, whether it can be proven or not. Of course, Jackson is not a clean-cut and innocent figure. Even his most ardent fans accept that the man is not perfect and he (Jackson) has made the news for the wrong reasons more than once. It was worrying seeing Jackson unravel after a certain point. Maybe the press attention was too much or he believed his own hype. There is no denying he is a musical genius but perhaps that expectation got to him and made him feel invincible. Nobody knows quite what was in Jackson’s mind and what happened behind closed doors. The allegations and stories recounting in Leaving Neverland are definitely shocking but, without Jackson being here to tell his side, we can never know what happened and make him accountable. Jackson’s music has transformed lives and, as Janet Jackson stated in a recent interview, there are children idolising him and a new generation discovering his work. None of Jackson’s songs referred to child abuse or taking advantage of young fans, and yet it seems like radio stations have blacklisted his music. It is going to be near-impossible to reverse the damage caused and see Jackson in a new light. It is clear the media have made their minds up and, ten years after his death, Jackson’s legacy will be one of an abuser and criminal as opposed a musical maverick. It seems things are very black and white to many.

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I doubt we will see many articles (on Tuesday) regarding Jackson’s songs and his best albums. Instead, there will be a flurry of articles regarding drugs, controversy and his oddities. Apart from these articles having very little purpose – what is the aim of publishing them? – I do wonder whether Jackson’s music will find legacy years from now. I grew up listening to his music and first discovered Bad (his album released in 1987) in the early-1990s and I remember listening to it on my Walkman. It was a revelation and one of these albums that hit me immediately. The confidence and quality of the songwriting was instant; the memorability of the choruses was obvious and I followed him from that moment on. Of course, Thriller (1982) went on to become the biggest-selling album ever (it has since been surpassed) and it is seen as one of the defining records of the 1980s. Dangerous, released in 1991 was a tougher and more physical album whereas his earlier work, such as 1979’s Off the Wall, seduced with its maturity and slickness. Jackson’s later work was nowhere near as strong as his classic albums but there is plenty of genius Jackson material in the world to make up for that. As a live performer, his shows were legendary and he could stun audiences like no other. His videos became more and more lavish and almost become pieces of theatre.

From the ambition and brilliance of Thriller to the record-breaking Scream, Jackson was never shy to push the envelope and take music videos to new heights. This feature from Cheat Sheet highlights some of Jackson’s positives:

“One of the most significant ways Michael Jackson influenced the world was through global culture. The music legend wasn’t just famous in the United States. He was famous all over the world, including in areas that were seemingly untouched by Western influence. Through his influence, he was able to bring a sense of connection — similar to what we see online today — to all corners of the world. He envisioned the world coming together in peace and harmony and created music that unified.

While Michael Jackson wasn’t the only celebrity to use his fame for good, he was one of the most influential. Today, celebrities everywhere use their social media followings and fandom to raise awareness to the causes that matter to them — and they have Michael Jackson to thank for it.

Michael Jackson was more than just a pop star. He was a humanitarian who supported organizations, such as United Nations High Commission for Refugees, Martin Luther King Jr. Center for Social Change, UNICEF, American Cancer Society, and more. When it came to his humanitarian work, he was a huge advocate for children and mostly worked with organizations that supported the youth across the globe”.

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IN THIS PHOTO: Michael Jackson on his BAD World Tour in 1988/PHOTO CREDIT: Getty Images

The Guardian added to this in a feature from 2014:

“Things have changed, however. The panopticon of the internet means that today it should technically be easy to get as famous as Jacko – you can be adored from the Mongolian steppes to the Madagascan rainforest, all via YouTube. But in reality, fame is diluted by the internet as everyone makes their own collaged personal vision of global culture, and so that Jacko-level fame, an omnipresence mediated via the restricted channels of radio, TV and recorded sound, is unlikely ever to be repeated.

It doesn't mean people haven't tried to replicate it though; Jackson's legend is constantly propelling the already-famous to dream of greater heights.

Jackson's repertoire of dance moves are still the base notes from which all street dance and R&B moves are derived. The peacockish pointing, the robotic fussing that smoothes into a glide, the endless spinning – this was dancing for a digital age of precision, and the likes of the Step Up movies have struggled to innovate their way into the next era. Chris Brown is the leading new-school exponent of Jackson's moves, executing brilliantly exact funk and athleticism – but where Jackson's braggadocio lifted the spirits and drew a room together, Brown merely preens, fixated on sexual transaction.

When David Guetta-branded pop ruled the world a few years back, it felt like there was little room for Jackson's funk – but the success of Pharrell, Robin Thicke, Daft Punk, Bruno Mars, and a resurgent Justin Timberlake (as well as new imitator Ed Sheeran) shows the music Jackson popularised is still relevant. The soft-focus twinkle of Rock With You is the sound they're most obviously lifting, but there are other borrowings: his use of crazily overdriven rock guitar to denote roiling sexual longing or spiritual ecstasy has been picked up by R&B musicians like Miguel, for example. More generally, he surely remains a touchstone for someone like Katy Perry, for his ability to oscillate between universal anthems and personal ballads, all punctuated with hedonistic confectionery – a skill that only a few pop stars, still led by Jackson, have been able to hone”.

 PHOTO CREDIT: Getty Images

One suspects, only five years after that article, these new sexual abuse allegations will tip the scales. Are those in the media able to balance the proven brilliance of Jackson’s music and put it beside allegations that have dogged him for the past few months? It is ignorant to ignore the positives and dismiss any criticisms but, at the same time, it is insulting and wrong to wash away decades of great music. I know his fans are listening to his music and Jacko can never disappear. One can still find his tracks on streaming services and buy his albums. Radio is a bit split depending on where you live but here in the U.K., it seems the bigger stations have made their minds up. The vast majority of articles from now on will concentrate on the darker aspects and ignore the legacy that Jackson acquired. Decades of golden music has been outweighed by the cumulative effect of allegations and Jackson’s proclivities and it does make me sad. Not that the man is not around anymore – one feels he contributed to his premature death – but the fact the brilliant work he left behind, every day, is starting to fade away and is being pushed under the rug. On Tuesday, it will be ten years since he died and I am sure very few will rush forward to pay tribute to his great music. It is a shame because, since the 1970s, Michael Jackson has enriched lives, inspired other artists and made countless people…

 

EXTREMELY happy.  

FEATURE: Female Icons: Part Eight: Janet Jackson

FEATURE:

 

 

Female Icons

Part Eight: Janet Jackson

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THERE is something pretty timely regarding…

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 PHOTO CREDIT: Mary Ellen Matthews

including Janet Jackson in this feature. Not only is she always in the minds of those who truly love music but, next weekend, she is playing Glastonbury. I was one of those people who was shocked she was not asked to headline because, as you could imagine, she’d put on one hell of a set! Some people challenged me on social media – when I argued Jackson would make a great headliner – but claiming she does not have enough material in the locker; lacking in sufficient hits. Considering Stormzy is headlining – and has only released one album – and The Killers’ are not any more hit-loaded than Jackson, the assumption seems faulty.

IN THIS PHOTO: Janet with Michael on the set of Scream (1995)/PHOTO CREDIT: Steve Paul Whitsitt/Getty Images

In any case, she will be appearing…but I think there was an opportunity missed by the organisers. There is no denying Janet Jackson is an icon because, since her debut, she has been inspiring other artists and stunning critics. Consider her brother is Michael Jackson, it was never going to be easy making a name for herself with that association – whether he is being maligned by the press or owning the Pop world. Janet Jackson has always been a different proposition and never tried to copy what Michael did. In fact, as she continues to put out great music, one can see how far she has come from her earliest days; how the music has changed and how awesome she sounds to this day.

I shall bring in an interview Jackson just gave with The Sunday Times (her first newspaper interview in years) where she talks about her career and the legacy of her brother, Michael – I shall also look at Michael Jackson in a feature later today. To get a sense of why Janet Jackson is a Glastonbury-set icon, one must go back to the start. Although it would take a few years for the aspiring Jackson to hit her stride, music was always part of her life. Considering the Jackson legacy and reputation, there was no way she could have avoided a career in music. Born in 1966, she grew up in a devout family (she would refrain from organised religion) and there was that sort of sense that, whilst her brothers (as The Jackson 5) were rising and becoming big, another life might await her. The Jackson family relocated from Indiana Los Angeles and it seemed life would be very different. Jackson wanted to a horse jockey or an entertainment lawyer but, as is common with a lot of children, they were dreams rather than concentrate plans. Once the fame of The Jackson 5 rose and Michael was starting to record solo, it seemed there was no escaping the music bug. Janet Jackson started performing young and featured in a variety show, The Jacksons, in 1976. In 1982, her debut album, Janet Jackson, arrived and it announced her to the world.

The young Jackson did not have the same input into the music as she would but, with songwriters René Moore and Angela Winbush providing guidance, there were a few promising songs on the set. Although the debut album lacked the personality and depth of her later work, it was an assured first step and it proved Janet Jackson was not going to shadow her brothers and had her own path. Few more drastic leaps have occurred in music than Janet Jackson going from 1984’s Dream Street and 1986’s Control. Look at the covers to the first two Janet Jackson albums and you see this sweet-faced artist who very much fitted in with the vibe of 1980s Pop. Apart from rebels like Madonna, there were few artists in 1980s Pop who had that grit and punch. Jackson, by 1986, was transforming into this genuinely aspiring and independent artist. Having that early platform gave her chance to work her sound and learn about the professional side of the industry. Control is the first of Jackson’s truly classic albums – if anyone think she’d struggle for material for Glastonbury, most of Control could work its way onto the setlist! If her first two albums were more conventional and commercial, Control fused Rap, Blues’; some Funk and Disco to create this new world. Sick beats and plenty of funk meant Jackson, alongside producers Jimmy Jam and Terry Lewis, was stepping up and leading the way.

In many ways, Jackson invented the New Jack Swing genre and set a course that would see her music truly enter the lexicon of modern music. The themes switched from more traditional, softer tones to something a lot more autobiographical and harder-hitting. She had gone through an annulment and there was turbulence in her life. She hired A&M executive John McClain and severed her ties with her manager Joseph and the Jackson family. Her father, Joseph, was a little cold towards her and seemed to view his children as assets rather than people. In a way, they were a way of raising money but, when it came to affection, that was lacking. This independence meant she was with management who placed her interests first and, as a result, Jackson could open her wings and put more of her own life in the music. The self-actualising anthems inspired a generation of black women who, at that point, did not have a guide like Jackson in music. Jackson was also going toe-to-toe with Madonna and there were these two strong women making music their way. The bolder and less commercial themes opened eyes and liberated Jackson. Showing she could produce as many hits as Michael, Control was this watershed moment for Janet Jackson. Emancipated and evolving, it was a pivotal moment in her career. Spawning singles such as What Have You Done for Me Lately, Nasty and Control, there were few stronger albums in 1986 (maybe Paul Simon’s Graceland?!).

Such was the success and popularity of Control that, only a year later, there was a remix version of the album; remixing the singles from that record and taking her music to new audiences and realms. Many artists might have rushed another album and produced something quick to please the label. Instead, with her life changing evermore, Janet Jackson was not to be rushed. It is just as well because, as 1989 came into view, the landscape was changing once more. Hip-Hop was taking a bigger slice of the critical pie and it was a time of great confidence and quality. Janet Jackson's Rhythm Nation 1814, if it came out at the start of the 1990s, might have had less of an impact than it did when it arrived in 1989. With Jimmy Jam and Terry Lewis collaborating, Jackson was not going to return to her roots and settle for anything soft. Control has established her as a fearless artist without barriers who was much more interested in soul and truth as opposed quick fame, easy options and following the herd. Her next masterpiece, therefore, dug even deeper than Control when it came to provocative subjects. Inspired, in part, by tragedies and injustices in the news, racism, substance abuse and poverty were all ripe for musical investigation and representation. Jackson, again, struck gold in the sales department and gained big kudos from critics.

This blossoming role model was a champion for social justice and equal rights; someone who provided inspiration for the youth of America, and the rest of the world. Janet Jackson's Rhythm Nation 1814 contained sample loops and a variety of musical styles. Not only could Janet Jackson provide something hard and evocative but she was equally masterful when it came to balladry and romantic longing. Here was a strong and tough woman who could also put her heart out there and speak from the soul. Janet Jackson's Rhythm Nation 1814 was a monster album and is seen as one of the finest achievements of the 1990s. Not only did Janet Jackson's Rhythm Nation 1814 inspire a generation of female artists emerging but it impacted Michael – you can hear shades of Janet Jackson's Rhythm Nation 1814 on his 1991 album, Dangerous. One can draw a line between Janet Jackson's Rhythm Nation 1814 to artists such as Lady Gaga, Frank Ocean and Alicia Keys – the album continues to compel to this very day. In a year when Hip-Hop artists were talking about civil rights and brutality, there was a fear that Janet Jackson's Rhythm Nation 1814 would not sell well. 1989 was a year when people wanted to see change and action and, for that reason, many link Janet Jackson's Rhythm Nation 1814 with Marvin Gaye’s What’s Going On (1971).

I want to crib heavily from a review in Pitchfork - that perfectly describes the effect and brilliance of Janet Jackson's Rhythm Nation 1814.

“Rhythm Nation 1814 became the rare album to combine multi-platinum-selling pop music and explicit social messages without crossing the line into preachiness. The ironclad songwriting of the still-going power trio of Jackson, Jimmy Jam, and Terry Lewis had a lot to do with that—at this point, they were infusing their synth funk with looser, layered rhythms and exploring the distance between funk and metal. Her vocals were often considered breathy and lilting, but on this album, Jackson established her lion’s roar, even at her uppermost pitch. The title track incorporated the muscled riff from “Thank You (Falettinme Be Mice Elf Agin),” connecting Sly Stone’s own sociopolitical message to hers. But its syncopated kicks and Jackson’s self-assured mission were resolutely contemporary, the result of a time when tape splicing and sampling were considered the zenith of pop experimentation.

In that sense, Rhythm not only dovetailed with a political era in hip-hop, a genre with a heavy stylistic influence on the album—Public Enemy’s It Takes a Nation of Millions to Hold Us Back and Salt-n-Pepa’s Blacks’ Magic bookended Rhythm Nation’s release, as did Spike Lee’s Do the Right Thing—but it set a precedent for conceptual pop albums far beyond it. For one, the absurdly derided “militancy” of Beyoncé’s powerful Black Panther-alluding Superbowl performance, as well as Lemonade as both a visual epic and political statement, have clear and undeniable precedents in 1814’s militaristic, optimistic critique. (MTV aired Rhythm Nation 1814 FILM, the visual album Jackson termed a “telemusical,” in an hour-long special, a trendsetting antecedent to Lemonade and a postscript to her brother Michael’s Thriller epic. Young viewers rushed to wear metal-plated ballcaps and dangle their house keys from a single ear.)

With it, Jackson demanded multiplicity in both image and genre, in a time when black women pop singers of her oeuvre weren’t often given it. Then, as now, she knew she would not be afforded that multidimensionality on good faith—she had to make it for herself”.

After the success of Janet Jackson's Rhythm Nation 1814, Jackson took a new direction with her 1993 album, Janet. The fact that she was a Jackson meant that, inevitably, she would have the press belittling her individual merits; thinking her success was down to the family name and reputation. Janet was an album where Jackson took charge of the lyrics and moved away from the social and political aspects of her previous two works. In the lead-up to Janet, there was this bidding war where labels were desperate to have Jackson on their books. Figures vary but many millions were being thrown around in the hope of attracting Jackson. She dropped her surname and was more and more determined to stand alone and detach from the family – not in a bad way but it was hard to get respect on her own terms. Gone was the more industrial sound of her former self to be replaced by Jazz, House and Pop. Themes on Janet revolved around a woman’s perspective on sexuality and, whilst there was less social justice and political themes, Jackson was still writing in a very bold and personal way. Maybe the reception was not as emphatic for Janet as it was for Janet Jackson's Rhythm Nation 1814 - but that did not indicate a deterioration of material and potential.

Some of Janet’s best songs rival her absolute peak and I have a very soft spot for That’s the Way Love Goes – a steamy, tender song that has its own life and story. You can do your reading regarding That’s the Way Love Goes but I am going to nick a bit from Wikipedia; a section that explains the legacy and impact of the song:

"That's the Way Love Goes" is among Jackson's signature songs, recognized for its vocals, innovation, and "timeless" aura. It was considered an alternative to popular radio trends and essential part of Jackson's artistic growth, signifying a massive shift in her music and image. It has been cited as an inspiration by Britney Spears, Alicia Keys, Nelly Furtado, and Destiny's Child. The song is ranked among Blender's "500 Greatest Songs Since You Were Born," placing at number four in VH1's "Greatest Songs of the '90s" in 2012. Billboard praised its structure and longevity, saying "That indelible refrain: "Like a moth to a flame / burned by the fire / my love is blind / can't you see my desire?" That slinky Jam & Lewis beat. Even at 20 years old, this Janet jam can still ignite any house party, much like the one in its music video." The publication exclaimed it to be "a sexual awakening for both Jackson and American culture"; classified as one of "the most sexually frank to reach the upper reaches of the charts at the time."[61][62]

The L.A. Times considered it "one of the most endearing pieces of romantic pop confection of the '90s," as well as "the most seductive slice of daydream romanticism in years."[19][63]GuidetoGay called it "equally sexy" as her image, "but unlike Madonna’s ‘Erotica’, ‘janet.’ left more to the imagination." "While most expected her to return with an in-your-face dance track, Jackson "eased in the side door" with a more soulful groove. The music video was equally laid back, showing Jackson chilling with her dancers - one of whom was a then unknown Jennifer Lopez."[64] CNN stated the song memorably "set the mood for a sultry summer," while Vulture.com recalled it "slinked its way easily onto summer mix tapes".[65][66]Additionally, it was declared "the epitome of bedroom slow-jams," among the album's "several iconic hits" which helped define the decade.[67] Newsday considered "That's the Way Love Goes" among Jackson's singles which "changed the course of pop," applauding the "all-purpose, feel-good hit," saying "unlike most summer anthems, "That's the Way Love Goes" doesn't have a gimmick. It's just straight-up cool. [...] It got heads bobbin' in countless cars. It filled dance floors with folks finger- pointing along with the chorus. It became an essential part of the soundtrack to barbecues and beach parties. With its laid-back beat and Jackson's sultry- sweet vocals, it doesn't get you excited as much as puts a smile on your face, which may explain why it was never grating despite its omnipresence."[68][69] Gold Stripe Magazine stated "When we think of the 90s, we think of baggy boyfriend jeans, crop tops, big hair, and house parties. Janet Jackson was one woman who defined the decade. On the scene, she was the total package: sexy, talented, and a softspoken sweetheart."[70]

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There were a few greatest hits stabs before her next big album but, after shifting gears and being pretty damned busy, it wasn’t until 1997 that we had the majestic The Velvet Rope arrived. Maybe Janet was a bit of a detour from this run of albums that was political and conscientious and, on The Velvet Rope, there was a slight return and compromise. Personal themes and experiences were always part of Jackson’s work but, after experiencing an emotional breakdown, The Velvet Rope has this very direct and emotional core. Documenting themes such as depression, social networking and same-sex relationships, here was another album that was very different to anything out and, as would be seen, inspired legions of artists. Considered to be one of her most mature albums, The Velvet Rope is another classic Janet Jackson album that was unafraid to speak about things important to the songwriter – including gay rights and social justice. The autobiographical nature and nakedness of the album inspired songwriters and everyone from Rihanna and Kelly Rowland has produced their own version of The Velvet Rope. This review from SLANT is particularly glowing and constructive:

“In every conceivable way the most “adult” album of Janet’s career, The Velvet Rope is also the most naïve. Its vitality owes almost nothing to its stabs at sexual frankness. Because, truthfully, a lot of the “naughty” material doesn’t exactly seem that much more convincing than the Prozac-fuelled aphorisms of the follow-ups, nor is it more politically intriguing than her advocacy of color-blindness in Rhythm Nation. The bisexuality of her cover of Rod Stewart’s “Tonight’s the Night” never manages to convince that Miss Jackson has ever been so nasty as to even consider loosening pretty French gowns.

“Rope Burn” isn’t so ribald that Janet doesn’t have to remind listeners that they’re supposed to take off her clothes first, though producers Jimmy Jam and Terry Lewis’s Chinese water torture beat does approximate sonic bondage. It’s hardly surprising that when Janet uses the word “fuck” in “What About,” she’s not talking about it happening to her. For a sex album that also seems to aim at giving fans an unparalleled glance behind the fetish mask (literally, in the concert tour performance of “You”), Janet’s probably never been more cagey.

But behind the sex is something even more compelling, because it gradually dawns on you that Janet’s use of sexuality is an evasive tactic. That it’s easier for her to sing about cybersex (on the galvanizing drum n’ bass “Empty,” one of Jam and Lewis’s very finest moments, maybe even their last excepting Jordan Knight’s “Give It to You”) and to fret about her coochie falling apart than it is to admit that it’s her psyche and soul that are in greater danger of fracturing. Soul sister to Madonna’s Erotica (which, in turn, was her most daring performance), The Velvet Rope is a richly dark masterwork that illustrates that, amid the whips and chains, there is nothing sexier than emotional nakedness”.

I am not going to skip through Janet Jackson’s remaining albums but, as a pioneer and influential artist, it is clear the impact she has had. Not only have albums busted taboos and changed Pop but so many modern artists owe a debt to her.

Her work post-The Velvet Rope has been incredible and, whilst the reception has not always been warm, Jackson continues to put brilliance into the world. 2015’s Unbreakable fared well critically and commercial and it proved that, since the 1980s, there has been nobody like her. Jackson continues to compel and guide music and she will do so for many years. She takes to the Glastonbury stage in a matter of days and it will be interesting to see which songs she plays. I will quote more from The Sunday Times’ interview when writing about Michael Jackson but, in a rare exposition, Jackson talked about her music and background. I want to quote a few segments from the interview – that covers everything from her emotional issues in her thirties to motherhood – but, if you have time, check out the whole interview:

 “There will be those in the audience on Saturday who are old enough to remember CDs and mix tapes. For them, it will be a choreographed walk down memory lane. All those hit songs that you had forgotten were Janet’s: What Have You Done for Me Lately, Miss You Much, Escapade. But for the younger generation, the 1980s and 1990s are coming around again, refreshed and cool. As in, “Dad, have you heard of an album called Like a Virgin?” Clever Glastonbury for keeping up with the pop culture carousel.

It is immediately apparent that motherhood has given Jackson a new sense of fulfilment. “My friends call me Superwoman,” she says. “God knows I’m not. But I think what they are seeing is the energy and that extra drive I’m getting from the inspiration of Eissa.”

However, she insists that her work/life balance has changed since he came along. “I’ve slowed down a great deal. I don’t rehearse as many hours as I used to because of being with my baby. My days have been cut in half so I can spend that time with him.”

“The struggle was intense,” wrote Janet last year of her battle with depression in her thirties. “Low self-esteem might be rooted in childhood feelings of inferiority. It could relate to failing to meet impossibly high standards.” Today, one year after her father’s death, she puts it all into perspective. “When parents see something in their children, I guess they guide them in that direction,” she says. “Especially when you’re talking about children who grew up in that urban area. Music was a way to keep us off the streets. My father saw a way out for his children. A better life. And thank God for that.”

What would have happened if she had wanted to do something other than show business? She laughs drily. “That did happen and my father told me ‘no’.”

I wonder how she feels about the state of the world now, 30 years on from Rhythm Nation, and more turbulent than ever. On Brexit and divisions in Europe, she offers three words: “Oh my gosh.” On forces resisting social reform in her own country, she says: “Change is inevitable. They can’t stop it. I mean, come on.” The last time she was in London, she encountered a children’s climate strike in Trafalgar Square. “I filmed some of it, I thought it was so amazing,” she says. “It gave me chills to see how powerful they were. They have a say in all of this. They are the ones who are going to have to take care of this world, so they have the right”.

Janet Jackson will take to the Pyramid Stage on Saturday and it will be a rare moment for fans at a large festival as they get to hear this career-spanning set. Although Jackson was not asked to headline, she will go down a storm and is a true icon. One can imagine a biopic being made at some point because Jackson has experienced such highs and lows; these huge albums and brilliant moments. She is a true pioneer and innovator and, let’s hope, there are decades more left in her. It is a shame I cannot get to Glastonbury but there will be thousands there to give Jackson support. There have been one or two albums that have not struck a huge high but, when you look at the classics she has created, few artists can claim to have anything as impactful as The Velvet Rope, Control and Janet Jackson's Rhythm Nation 1814 in their back pocket! Given the state of the world right now, who knows what will come next from Janet Jackson. Glastonbury is next and one feels, when the dust settles, a new album cannot be too far away. I grew up listening to Jackson’s music and, for me and so many others, she has been part of my upbringing. One can argue which Jackson album/single is best but one thing we can all agree on is, when she steps onto the Pyramid Stage in six days and starts her set, everyone in the crowd will be enthralled…

AND united.  

UNCREDITED PHOTOS: Getty Images/Janet Jackson

FEATURE: Going Back to the Old-School: Why We Need Music Documentaries at the Forefront

FEATURE:

 

 

Going Back to the Old-School

PHOTO CREDIT: @dmjdenise/Unsplash 

Why We Need Music Documentaries at the Forefront

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I realise that the glorious day of MTV…

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 IN THIS PHOTO: Katie Puckrik/PHOTO CREDIT: Getty Images

are gone and we will never get that same rush again. Maybe I am living in the past but I do love the buzz of nostalgia one gets looking back at MTV and the fantastic videos that launched the station. I think music T.V. still has a role but it is not the same as it used to be. One of the survivors of the music T.V. age is the documentary. They are not as popular and widespread as they used to be but, with Katie Puckrik’s I Can Go for That: The Smooth World of Yacht Rock out in the ether, it has stirred up a lot of desire. I urge people to watch the documentary - because it is a fascinating insight into a style of music we all know but do not know that well. It sorted of started its life in the 1970s and continued in the 1980s. It seemed opposed to genres like Punk and Pop because it had its own vibe and scene. Of course, I grew up around artists like Steely Dan and The Doobie Brothers but never really considered how they started life and the fact they were part of this wider culture. I do think we blithely listen to music and assume it does not have a sense of history and context. I can hear a Yacht-Rock song and I let it pass me by.

Having seen I Can Go for That: The Smooth World of Yacht Rock, it has made me more curious and, to be fair, I have watched it a few times now. Puckrik offers this warm, passionate and knowledgeable lead and you can tell the genre means a lot to her. It was great seeing the documentary and hearing from a lot of the artists that defined the genre – from members of Toto through to some of the important movers and groovers who saw it all unfold. Even if you are not familiar with Yacht-Rock, one can appreciate a documentary like this. We consume music at such an alarming rate that we never really sit back and think about its origins. Maybe it is a sign of the past but I used to love watching all the classic album series that used to be on: a chance for one to get a properly in-depth study of an album, track-by-track. Now, when we do see music on T.V., it tends to play a minor role. There are no real music shows anymore (apart from Jools Holland’s long-running show) but so much of the industry has moved to streaming and away from T.V. and the physical. This is sad because, in order for genres, albums and movements to stay in the memory and find new fans, we need to start making more documentaries. It seems like BBC 4 is the natural home for music documentaries in Britain.

One might see the odd music documentary on other channels but it seems BBC Four is the place to go if you want that fix. Having revelled in the bliss and good vibes of I Can Go for That: The Smooth World of Yacht Rock, I do think there are other genres and areas of music that have yet to be explored. From the golden era of Hip-Hop – I know there have been documentaries made on the subject but nothing recent – through to the Dance and Club music of the 1980s and 1990s, there is definite ammunition and demand. Documentaries takes a while to put together so I appreciate there might be some formulating as we speak. Puckrik’s desire and curiosity resulted in this great documentary that spoke to die-hard fans of Yacht-Rock and those who were a bit unsure and new. I love the fact BBC Four houses some great music documentaries but I do think that there is scope for a lot more to happen; to bring them to other channels and show that, in an age of streaming, there is plenty of room for something more detailed and studied. Everyone will have their own ideas regarding the documentaries we need to see. Whilst Yacht-Rock has been aired and uncovered, I do think that there are other genres that could be featured. I love, as I keep saying, the wave of great music that came out from the early/mid-1980s through to the late-1990s.

We do not see those classic album series anymore and I think there are some records that warrant that focus and celebration. Not only does it remind those of us who recall the album first time around but it ensures younger music fans are introduced to something they might be unfamiliar with. One other reason I Can Go for That: The Smooth World of Yacht Rock proved so popular was the rush you get hearing these great songs. At the same time, one learns new things and you separate this genre from the rest of music. Some people do not realise that there are these very specific genres or they might not be sure whether a song is Yacht-Rock or not. I do maintain that we are becoming less connected with music in general and it is seen as more disposable. I would love to learn more about Fleetwood Mac recording Rumours. I love sampling in music and would enjoy a documentary that investigated big, sample-heavy albums; taking us to key areas like Brooklyn and Harlem when we consider Hip-Hop and its evolution. One cannot indulge every desire but there is a definite love of the music documentary. Whether we focus on a single artist such as David Bowie or cover a whole decade, it provides incredible T.V. and you come away feeling informed, nourished and better. It is a tragedy that we do not really have live music on T.V. and the MTV golden years are very much dead.

I do fear we are letting music slip into the machine and not really realising why music has come as far as it has. Were it not for music T.V. and the pioneers, who knows what state the industry would be in now. I keep watching I Can Go for That: The Smooth World of Yacht Rock because the contributors talk with such glee and affection. They were part of something special and, whilst Yacht-Rock is not as widespread as it was at one time, it definitely had its place in music history. Playlists are great when we want to get an impression of a genre but I do think you need something more in-depth and visual. If one wants to learn about a band like, say, Fleetwood Mac and their careers, a documentary/series is the perfect way to do that. If we all think hard enough, there are so many different areas of music that are primed for televisual exposure. I do appreciate the role of BBC Four but, even then, there are not as many documentaries as you’d hope for. I have been arguing we need an authoritative, updated documentary about Kate Bush. I maintains bands like The Beatles have been addressed enough but there are still areas that are yet to be revealed for T.V. I have mentioned a few possible documentaries and, actually, there is potential for a new T.V. channel to come around that only features documentaries.

 IMAGE CREDIT: MTV

Maybe there is something similar but I am talking about a station that mixes new documentaries with classic ones. As a huge music fan, I really enjoy documentaries and I always feel enriched watching them. Not only does one get a chance to immerse themselves in a particular subject/genre but (the best documentaries) remain. I love the very best music videos and am a big fan of Jeff Buckley; I adore Hip-Hop, as I said, and I do believe there are new angles and ideas that could prove very popular. I tip my hat to Katie Puckrik and I Can Go for That: The Smooth World of Yacht Rock because it has got people talking and, when you think about it, we all have some connection with the genre. Maybe there is some nostalgia in a documentary like I Can Go for That: The Smooth World of Yacht Rock but even the sheer wonder of escaping is reason enough why we need more music documentaries. I am not the only one hankers after music playing a bigger role on T.V. It is heartbreaking that we experience music through streaming sites and online but do not spend as much time as we should with music T.V. and documentaries. There are countless options for great documentaries that would prove very popular and enduring. I am definitely going to watch I Can Go for That: The Smooth World of Yacht Rock because it gave me a real tingle and I am picking up new things with each viewing. The wonderful world of Yacht-Rock has created a ripple that should change the tide and lead to a sea (sorry!) of…

WONDERFUL documentaries.  

TRACK REVIEW: Robyn - Ever Again

TRACK REVIEW:

 

Robyn

PHOTO CREDIT: Heji Shin

Ever Again

 

9.5/10

 

 

The track, Ever Again, is available via:

https://www.youtube.com/watch?v=GfK88LsB0fg

GENRES:

Electro-Pop/Synth-Pop

ORIGIN:

Stockholm, Sweden

RELEASE DATE:

17th June, 2019

LABEL:

Konichiwa Records

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FOR this Sunday review…

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 PHOTO CREDIT: Mark Peckmezian

I am featuring an artist I have meant to include for a long time now. I shall come to Robyn and her latest track in a bit but, at the moment, I am compelled to talk about Pop survivors and those who grow and inspire through the years; why the likes of Robyn provide a lot more depth and inspiration than many of her peers; artists who talk about their personal struggles and how helpful that can be to people in a similar position; the European influence on the music scene, then and now, and the effect seriously great and intelligent music can have on you – I will talk a bit about where Robyn might head next. To start things off, I think one needs to look at someone like Robyn in terms of stamina and appeal. There are so many Pop artists who sort of arrive and then fade away after a few years. Aside from some mainstays such as Taylor Swift and Katy Perry, there are a fair few artists in the mainstream who have not been around that long. I do think that modern Pop artists understand that, in order to remain and retain popularity, they need to be a bit bolder and original with their sounds. The ones that sort of disappear tend to stick too rigidly to the commercial line; get stuck in a mindset that offers little in the way of interest and depth. Robyn has been in the industry for her while but her 1995 debut, Robyn Is Here, was received well. In 1995, she was a pleasing alternative to the more conventional and sanitised Pop artists on the scene. For those who wanted something a little less routine and manufactured, Robyn was this necessary tonic and relief. Since then, she has continued to evolve and make her mark on music. Her latest album, 2018’s Honey, was another blockbuster and an album that gained a lot of love. By being herself and not following what everyone else is doing, Robyn has remained relevant and hugely popular.

This is encouraging to see because, as I said, there are not that many artists in the mainstream who have the same attitude as her. In fact, the reason there are some long-lasting artists in Pop is because of the likes of Robyn and their mark. If everyone writes about the same thing and follows the commercial, you never have any sense of survival and artists will naturally fade away. I have a lot of respect for artists who can weather the decades and adapt accordingly. What bothers me about modern music is the fact there are so many of these short-term artists that seem to say the same thing. Robyn has been around since the 1990s and she has not doggedly stuck with the same sound and hoped that works. Instead, she has worked with different people and changed accordingly. Her music has that nice mixture of the personal and revealing teamed with something a bit more, well, fun and less serious. That might not be the best description but I do not like artists who are always so serious and open; similarly, those who stray away from their own lives entirely can grow a bit weary. I love Robyn because her music is always compelling and fresh but she manages to put her heart and soul onto the page. Robyn is forty now and, as I will explain, there is this issue of ageism that has hung around music for decades. There is no sign of Robyn slowing and I do hope she continues to make music for decades more. Those who remain and continue to make music should be respected because I think the industry is a lot tougher now than it was a decade or two ago. Pop is a genre that is pretty broad and ever-changing but, in the modern scene, there is a big split between the more commercial artists and those who go deeper. Robyn is definitely someone who surpasses her peers and has inspired so many artists today.

 PHOTO CREDIT: Max Vitali

I will bring in an interview she gave to The Evening Standard where she talks about how she fought against issues and spent some time away from the industry. It is a very brave and honest interview and one that proves Robyn is a survivor and inspiring soul. I think that is one area of appeal that many people overlook. Since her debut album, Robyn has been through some tough times and doubts and, with every album, she amazes and drops jaws. I think it is that sense of honesty she puts into the music and the fact that, with everything she does, you feel this sense of wonder and reveal. By that, Robyn packs in so many different ideas and layers. So many of her peers stick with flat beats and processed compositions. Their lyrics are often pretty stilted and samey and you never get this sense they are attempting to be different and stand out. Robyn, instead, brings magic and textures to every song. Whether it is an outright banger or a track that has more emotional candour, she never stands still and is always looking to tackle new ground. So many artists do stand still and they continue to churn out songs that will get into the charts and are pretty simple. We are seeing Pop artists emerge that are Robyn-like in terms of their qualities and sense of adventure. Still, there is this mass in the mainstream that keeps on talking about love and heartache in a pretty ordinary and predictable way. You never feel like you’re hearing something different or there is any real intent to captivate the listener. With Robyn, one can imagine every album is a chance to improve on the last. With Honey, she provided something warm, forward-thinking and satisfying. Look back at 2010’s Body Talk and that was a slightly chillier record in terms of its themes and sounds. Maybe, as I will investigate, personal circumstances and changes meant there was this gap between records; a shift in sound that was quite necessary.

 PHOTO CREDIT: Heji Shin

Every review you see for a Robyn album seems to highlight her forward-thinking attitude and approach. Rather than copy everyone else and stick what is perceived as ‘needed’, she changes between records and gives the world something fresh. I feel those who make these switches between albums will remain in music longer than artists who simply trot out the same thing. I have a lot of respect for Pop artists in general and the variety available but I do think few are capable of evolving and trying something different with albums. It is hard putting your own stamp on the industry and being this pioneer but, as Robyn shows, when you keep moving then all these wonderful possibilities come to light. I shall move on from this subject in a minute but I am keen to exploit Robyn’s gifts and how she has remained at the top of the tree for decades. Honey gained such warmth and applause because it is an album that gets into the head and does make you feel warmer. It is not always joyful and positive but, for the most part, it is a sensational album that brings together some of her previous aspects but has this whole new perspective running through.

Maybe, having taken a bit of a break and addressed some personal issues, the response to that was an attack of positivity. At a time when so many artists are reflecting something negative and haunted, artists like Robyn are very much needed. I am not saying everyone writes only upbeat songs but, if you look around, there is so much struggle and anxiety coming out. I do think we need that balance. Robyn is this leading light who always surprises us but, at a time when we need something quite positive and energised, she is here to comply. Robyn’s continued lust and pioneering spirit is deeply impressive and so many of her contemporaries could learn from her. Robyn has influenced so many artists performing now and, with no signs of her slowing, she will do this for many more years.

 PHOTO CREDIT: Steve Huynh

We often hear artists’ struggles and personal problems through their music but we do not really get much from them in interviews. Maybe artists are reluctant to interview or they do so many that the answers all sound the same. How often does one hear a genuinely compelling artist who speaks openly and really makes you stand to attention? I cannot name many but, with regards that need, Robyn is a different case altogether. When she spoke with The Evening Standard whilst promoting Honey last year, she talked about this sense of rebirth and revival. The interview is worth checking out in full but I have selected a couple of passages that sort of prove what I mean about Robyn. She is very candid and open regarding her state of mind previously and how she coped with challenging times:

“But for a long time, Robyn didn’t want to engage with music or the world at large. She stayed home in her Stockholm apartment watching TV (“Game of Thrones!”) in her pyjamas. She also spent a lot of time in LA, saw friends, went clubbing, read a lot of books. “And I went to therapy three times a week.”

No medication, or self-medication? Robyn shakes her head. “Well, I think psychedelic drugs are definitely useful,” she clarifies, “in those periods of your life.” Does she mean microdosing?

It was all about rediscovering her purpose. Or, the purpose of her music. “I thought: ‘What is so special about me that I have to take up all this space in people’s consciousness and tell them about my feelings? What can I offer them?’

“Maybe that’s why I like people like David Bowie and Prince. I seriously feel like Bowie was an astronaut who went into space and experienced things and brought back these... treasures,” she says, beaming”.

It is wonderful reading interviews with Robyn because she is very engaging and revealing. I like the fact Robyn has regained her spark and is putting that into music.

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Another interview I wanted to bring in, with The Guardian, talks about the building anticipation and excitement; how she has remained relevant and popular these years and how her personal life has never been a major factor regarding her appeal:

“The anticipation around Robyn’s new work couldn’t be greater, but in 2018, at 39 years old, she feels she has nothing to prove – especially not to an ageist industry that, despite being imprinted with her image, may not continue to accommodate her. Two days after the party at Pikes, I met Robyn at the villa she was renting at the top of a slalom-like path through the densely wooded Ibiza hills. As we talked, overlooking the pool and a raked gravel garden, friends emerged from their rave cocoons to receive a plate of eggs from her confidante and collaborator Adam Bainbridge (AKA British producer Kindness). The air smelled like hot cedar. Despite the 31C heat, and having spent the past week clubbing and working, Robyn, wearing a white smock over a complicated white swimsuit, looked unfairly like an embodiment of the surrounding calm.

Unlike most female pop stars subject to mass idolatry, Robyn’s personal life has never been part of her appeal. (She shrugged off a question about the band on her ring finger.) Instead, her songs function as talismans affirming the nobility of heartbreak and the importance of standing by your convictions without needing to know anything about hers. “Even when she’s being vulnerable, you feel safe being taken on the journey with her,” says comedian and fan Andy Samberg. In a Robyn song, you have the right to desolate heartbreak and the perfectly valid urge to stalk your ex to make triple-sure it is over. This connection is how Robyn always wanted fans to relate to her music, as she did with Kate Bush in the 1980s. But her new album necessitated personal revelations.

Emulating Robyn’s sound is possible; maintaining her creative control is harder. Long after she had proved herself, the micromanagement from industry executives could still reach absurd lows. “When I did the video for Handle Me [in 2007],” she said, “I had quite strong eyebrows, which now isn’t a weird thing at all – everybody has eyebrows – but back then it was, like, considered being super unsexy, and I remember my American label wanting me to redo the video.” (She refused.)

PHOTO CREDIT: Liz Collins 

Selling an attitude of independence has been crucial to the allure of most major female pop stars since Madonna, but there is a chasm between the carefully curated appearance of sovereignty – a mainstay of branded feminism – and actually running your business. “Getting that control takes a lot of stamina, and a lot of drilling, drilling, drilling,” said Robyn. Daring to ask questions and revealing your lack of knowledge makes you insecure, even vulnerable. “It’s not a sexy process, although the result is, of course, something that’s very desirable for people. I think getting there has been something that I’m admired for by the industry, but people that have been very close to it, they haven’t been very impressed”.

I have dropped in a lot of other people’s words there but it helps to illustrate where Robyn has come from and what she has had to endure. Honey was one of last year’s best records and we are excited to see where Robyn ventures next. Ever Again is the final track from Honey and, whilst the album has been out a while, I was keen to cover this latest single because it is sort of the end of a chapter. Robyn will be looking ahead and seeing what comes next. I will go on to talk about European influence in music but, from an intellectual stance, Robyn’s music surpasses most of what is out there. Not only is she a very wise and compelling interviewee - but you can hear that intelligence in her music. Her melodies and choruses have a warm heart and are definitely catchy but there is nuance in there so that you come back time and time again. Rather than spew out the same lyrics as everyone else and limit her imagination, Robyn is much freer with the pen and takes you something unique. That is a hard thing to do in modern music and yet Robyn has been doing it for years. It is testament to her talent and determination that this Pop leader is striking and surprising nearly twenty-five years after her debut album.

 PHOTO CREDIT: Mark Peckmezian

I am keen to review Robyn’s new single in a minute but the fact she was born in Sweden makes me think about European music. Back in the 1980s and 1990s, European artists made a huge impact on Dance and Pop music. In fact, I do feel they were on a level par with the artists of the U.K. and U.S. Their naturally upbeat disposition gave the music scene this spark and colour that has not quite been rekindled. From great Pop bands to Dance innovators, there was this period of great joy and togetherness and, right near the front, European artists were there and adding their weight. I do think Sweden has always been vital and I associate the nation’s artists with a sense of upbeat you do not get anywhere else. Maybe that is a reflection of the quality of life one experiences in Sweden or the fact the people are more optimistic. Whatever the reason, one cannot deny that Swedish artists have given music so much. Look at Norway, too, and new artists like Sigrid are producing seriously intoxicating Pop. Like Robyn, she can create very intelligent and long-lasting songs that have big waves and thoughts. Sigrid can write in a very personal way but she does not weigh her music down with gloom and anxiety. I think, as the U.K. heads out of the E.U., we are becoming disconnected but we cannot ignore the relevance of European artists. I am not sure whether Robyn is actually still based in Sweden but she definitely has this natural way with choruses and words that reminds me of that great Pop and Dance from the 1980s/1990s. I shall move on to reviewing territory now because, I hope, I have explained enough about Robyn’s charm, wonder and unique edge. Ever Again is a fantastic song and one, I feel, that did not get singled out enough when people were reviewing Honey. I guess the next step from her will be another album but, right now, I am keen to assess this wonderful dollop of Honey.

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 PHOTO CREDIT: Björn Borg

From the opening beats and drive of Ever Again, it seems Robyn is not messing around. Her voice remains composed and disciplined as she takes a lover to task. Rather than scorn and put a lot of hatred out there, she is keen to get things out in the open. Maybe the two had an old rhythm that has been lost and it seems like the heroine does not want the same old s*it to dominate the relationship. Robyn is in control and she switches between tender and tense. There is a sense that things have sort of taken a turn for the worse in a relationship but Robyn is looking to embrace positivity rather than turn in on herself. It seems that Ever Again is this declaration of intent: Robyn is not going to be brokenhearted again and, instead, she will embrace love and wants to feel happy. It is almost an alien message at a time when so many artists are heading in a different direction. I am not sure whether the sweethearts are on the same page because, whilst it is clear there are issues, Robyn does not want to feel sad and broken down. She is making her feelings known and ensuring that all of that crap does not ruin things. As the song continues, Robyn explains that there is that possibility things can go wrong and, if they do not communicate, the relationship will break. She wants things out in the open and that passage of conversation to open. The sound of Ever Again will be familiar to fans of Robyn. There is that stunning beat and physicality but a vocal that mixes sweetness and determination. The electronics/synths are warm and bubbling and one listens to the song first time around and, after a while, it keeps coming back and you find yourself addicted. There are not that many different lyrics on Ever Again. Instead, there is more of a mantra that runs through the song.

Robyn wants this love to remain and endure because it is a very good thing. She knows there are issues and problems underneath the surface but they are quite minor and should not compromise what they have. Robyn wants her lover to be who they are and not hide things away. It is inspiring hearing a song where the artist wants their lover to be open and not change who they are. Rather than embrace and fixate on all the small things and the issues that could burst to the surface, Robyn wants them to tackle this ahead of time and have a more open and stress-free relationship. We do not hear this type of song often and the positivity that comes from every line is to be admired. Ever Again is a peach of a song that ends a rather fantastic album. I think it is the singularity of the album and the fact there are very few collaborations that gives it such focus. Rather than stuff too many people in the mix, Robyn comes from a much more personal place. The music, as always, is exhilarating and you cannot help but feel lifted listening to Robyn. If you have not discovered Honey then make sure you go out and get the album. It is full of positivity and warmth and comes from an artist who has made changes in her life. I am not sure whether she is in a relationship right now but this sense of openness and freedom is very pleasing.

The fact she approaches love with a very open-minded and mature stance means the songs, I think, make you feel better. That sense of joy is more powerful than catharsis or unhappy release. There are few artists in music that are as consistent and wonderful as Robyn. She is always amazing and keeps on making these albums that surpass everything out there. It does make one wonder where she will head next and, given she is in a more positive space, there is a lot of cracking music to come. If you need a jam that will get you moving and put a smile on your face, make sure you check out Ever Again. Although the Honey album was released last year, Ever Again’s video is fresh and warrants a lot of praise. Robyn is one of my favourite artists in music and I think there is nobody like her. Long may she reign and compel.

 PHOTO CREDIT: Jonas Unger

Robyn is busy touring at the moment and has recently played in the U.K. This review from The Guardian shows why Robyn is one of the most celebrated live performer out there regarding how she makes people feel and what she puts into a show:

“Tonight, she makes the 10,000-strong heaving mass wait. In fact, for the first 90 seconds of the gently pulsating Send to Robin Immediately [sic], she isn’t even on stage. She appears only as the beat starts to throb, and even then she stands stock-still as gauzy, white fabric billows around a giant statue of caressing hands. The tension doesn’t snap until the third song, Indestructible, initiated by an expertly timed clap. From that moment on, the crowd are in the palm of her hands, as each song bleeds into the next like an immaculately crafted DJ set aimed at puncturing and then suturing the heart. The coiled frustration of Be Mine, during which Robyn yanks down a sheet that had acted as the final barrier between her and her sweaty disciples, rubs shoulders with the upbeat Ever Again, while the disco-tinged Because It’s in the Music (“and it makes me want to cry”) is healed by the groove-lead balm of Between the Lines”.

It seems like Robyn is loving music right now and is excited to be on the road. I think she is revitalised and you can tell she is entering a new phase of life. There will be some in the industry that say, as she is forty, her music is going to be relegated to certain stations and is lacking necessary cool. The fact that she continues to make some of the best music around proves that age is irrelevant. I do think that ageism is an horrible thing and is a reason why so many great artists are overlooked when it comes to airplay and festival bookings. Robyn has been changing the game for many years and we owe her a lot of respect. If you can catch her on the road, make sure you check her out. In any case, go and get Honey and experience her wonderful music. She has been making music for a very long time and I know she will carry on for many more years. There are few artists who continuously stun the sense and subvert expectations. For that reason, Robyn is someone we need to hold dearly because she absolutely is…

 PHOTO CREDIT: Mark Peckmezian

A true original.

 

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FEATURE: Vinyl Corner: The Beatles – A Hard Day’s Night

FEATURE:

 

 

Vinyl Corner

The Beatles – A Hard Day’s Night

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TWO of my favourite music-related things ever…

 IN THIS PHOTO: The Beatles filming A Hard Day’s Night/PHOTO CREDIT: United Artists/Getty Images

are The Beatles’ album, A Hard Day’s Night, and the film of the same name. The film is, I think, the best from the band (compared to their other film efforts) and the one that captures their friendship, comradeship and chemistry. It was released on 10th July, 1964 in the U.K. and was directed by Richard Lester. The film did not take a huge amount of money to make but, as you can expect, the box-office receipts were huge! I love the film because it features my favourite band but, like so many music films and biopics, there is a nice blend of humour and music. The plot is fairly simple and there are some great songs included. A Hard Day’s Night the album was released on 10th July, 1964 and received massive acclaim. I think A Hard Day’s Night is the most-underrated Beatles album because it is the first time songwriters Paul McCartney and John Lennon took control of the material. The first two Beatles albums consisted or original tracks and covers but, by 1964, Lennon and McCartney were really coming into their own as songwriters. From the timeless and memorable opening chord of the title song through to the more romantic and subtle numbers, A Hard Day’s Night is a masterpiece. Whereas earlier Beatles work was based more around Rock and Roll and Blues, Pop took a bigger stand through A Hard Day’s Night.

The Beatles would change their leadership and dynamics after 1965. Paul McCartney would take more charge regarding concepts and songwriting but, on the first Beatles album consisting of all-originals, Lennon was the chief songwriter. The tracks through A Hard Day’s Night are short, to the point and have incredible vocals. The layers and harmonies add lusciousness to the compositions. The title track and Can’t Buy Me Love are the best-known songs from A Hard Day’s Night - but lesser-played songs like If I Fell, I Should Have Known Better and I’ll Cry Instead are incredible moments from songwriters maturing and truly pushing boundaries. Although Lennon wrote nine out of the thirteen album tracks, McCartney’s genius and unique gifts are definitely on display. One associates life post-Revolver with a more strained and disconnected method of songwriting: Lennon and McCartney separate; Ringo Starr and George Harrison writing when they could but not really involved with the two leads. I will talk about Rubber Soul and a year that truly brought The Beatles to the stratosphere. One can see A Hard Day’s Night as a separate album or an accompaniment to the film. The first side of the album contains songs from the film’s soundtrack whereas the second side contains some songs not used in the film. No song on A Hard Day’s Night lasts longer than three minutes and there are a couple of tracks that are under two minutes in length.

The fact Lennon and McCartney crafted such special and enduring songs without feeling the need to make them too long proves they were intuitive, economical and concise. The tracks are wonderful and even some of the slighter numbers – such as Any Time at All – seep into the consciousness and reveal hidden layers the more you play them. The reception to the album and film were huge and, almost fifty-five years after its release, A Hard Day’s Night still has a special place in people’s hearts. In this review, AllMusic explained their appreciation for a very special album:         

“Decades after its original release, A Hard Day's Night's punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh. There's something intrinsically exciting in the sound of the album itself, something to keep the record vital years after it was recorded. Even more impressive are the songs themselves. Not only are the melodies forceful and memorable, but Lennon and McCartney have found a number of variations to their basic Merseybeat style, from the brash "Can't Buy Me Love" and "Any Time at All," through the gentle "If I Fell," to the tough folk-rock of "I'll Cry Instead." It's possible to hear both songwriters develop their own distinctive voices on the album, but overall, A Hard Day's Night stands as a testament to their collaborative powers -- never again did they write together so well or so easily, choosing to pursue their own routes.

PHOTO CREDIT: United Artists/Getty Images 

 John and Paul must have known how strong the material is -- they threw the pleasant trifle "I'm Happy Just to Dance with You" to George and didn't give anything to Ringo to sing. That may have been a little selfish, but it hardly hurts the album, since everything on the record is performed with genuine glee and excitement. It's the pinnacle of their early years”.

This is what Pitchfork had to say when reviewing A Hard Day’s Night:

 “But the dominant sound of the album is the Beatles in full cry as a pop band-- with no rock'n'roll covers to remind you of their roots you're free to take the group's new sound purely on its own modernist terms: The chord choices whose audacity surprised a listening Bob Dylan, the steamroller power of the harmonies, the gleaming sound of George Harrison's new Rickenbacker alongside the confident Northern blasts of harmonica, and a band and producer grown more than comfortable with each other. There's detail aplenty here-- and the remasters make it easy to hunt for-- but A Hard Day's Night is perhaps the band's most straightforward album: You notice the catchiness first, and you can wonder how they got it later”.

There are many more passionate reviews and, if you have not heard the album before, go and stream it and experience the magic. I would prefer people go and snap it up on vinyl because, in its true form, the songs sound even more magical and evocative.

I have these images of Lennon and McCartney writing sitting over from one another or, when needed, penning these great songs in their rooms. What can we learn from the songs’ lyrics and what they indicate about the band? This great piece talks about Lennon’s situation in 1964 and how he takes the lead through A Hard Day’s Night:

“The lyrics also suggest that Lennon was relating something about his personal life in 1964. After all, when you examine Mark Lewisohn's book "The Complete Beatles Chronicle," you can easily see that their day to day life was indeed a non-ending hectic 'hard day's night.' They truly were 'working like dogs' and being sleep deprived. It probably wasn't a fictional thought that he couldn't wait to get home to his wife Cynthia. And since his hard work with The Beatles was financing the Kenwood twenty seven room mansion that he would purchase three months later, the lyrics about working "all day...to buy you things" definitely rings true.

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PHOTO CREDIT: United Artists/Getty Images

Performance wise, John again is to the fore with his convincing vocal delivery. His rhythm work done with electric guitar during the basic track, coupled with the acoustic guitar performed in an overdub, lays a proficient foundation for the song. McCartney ends up hitting the nail on the head with his double-tracked vocals in the bridge and harmony work in the verses, even though it took him all nine takes to perfect. Equally difficult for Paul were his bass lines which, unusually for him, were also giving him trouble throughout most of the song's takes. Rather than saying he was having an off day, it was probably due to his unfamiliarity with the newly written song”.

There are many reasons why A Hard Day’s Night was a revelation and breakthrough for The Beatles. Here, as Classic Rock explains, it was the originality of the material and the personal nature that made it truly noteworthy:

“In the end, what made The Beatles album A Hard Day’s Night so special was not the fact that it was the first album of non-cover songs or that it also served as the soundtrack to a very successful movie. What made The Beatles album A Hard Day’s Night so special was the depth of the songs. The music from the album A Hard Day’s Night has become timeless. Just like George Martin had once said that fans would look back at the Beatles music the same way people were looking back at the brilliance of Beethoven. Martin was right, the Beatles music has not only become the soundtrack of the lives of those born from the mid twentieth century to current days, it has become the standard to which all pop music is judged against. The first two Beatles albums were great, but its the A Hard Day’s Night album that really began to display the brilliance of the band and the way they would change the course of popular music forever”.

Rubber Soul seems like the natural link from A Hard Day’s Night. Released in 1965, it wasn’t the next album from A Hard Day’s Night – Beatles for Sale and Help! came first – but I listen to Rubber Soul and it has a lot in common with A Hard Day’s Night in terms of the original songs, sounds and quality. Others might rank other Beatles albums above A Hard Day’s Night but, to me, their third studio album was a huge leap. It is a perfect album to listen to on vinyl so, if you can, go and get a copy and…

EXPERIENCE a masterpiece.  

FEATURE: The Wrong Kind of Push: In 2019, Do We Still Have a Lot to Do Regarding Gender Rights and Treating Women with Respect?

FEATURE:

 

 

The Wrong Kind of Push

IN THIS PHOTO: AluaGeorge singer Aluna Francis revealed her shocking experience of a collaborator sexually assaulting her/PHOTO CREDIT: Getty Images

In 2019, Do We Still Have a Lot to Do Regarding Gender Rights and Treating Women with Respect?

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I might wander slightly off the music track…

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 IN THIS PHOTO: Possible-future-P.M. Boris Johnson/PHOTO CREDIT: Tolga AKMEN/AFP

but this week has not been a good one for men who think with their temper rather than their heads. A report from The Guardian highlights how Boris Johnson and his girlfriend were involved in a dust-up. It sounded pretty minor but, with a lot of anger flying around the reports of objects being broken, the message one of the most powerful men in this country is sending out is not good. I can understand how people get fiery during arguments but there is never any provocation for the sort of anger that leads to the police being called. Ultimately, though, one story is in the news: Greenpeace activist Janet Barker being manhandled by M.P. Mark Field. Barker, with fellow protestors, were there to highlight climate change and the environmental plight right now. Rather than kindly being asked to leave, Barker was forcefully ejected and assaulted. This article from The Guardian catches up with Barker days after the assault:

“Bruised and still shaken, Janet Barker is incredulous at the violent reaction of the Foreign Office minister Mark Field to her peaceful protest with fellow Greenpeace activists at the chancellor’s Mansion House speech.

However, she has no plans to press criminal charges over the physical assault. “I think it is something best dealt with in the court of opinion,” she said, while welcoming his suspension as a minister.

Barker said she had been trying to deliver leaflets to guests on Thursday evening when she was grabbed by the neck and arm and forcibly ejected by Field, despite her pleas for him to release his grip and allow her to walk from the dining hall.

IN THIS PHOTO: Greenpeace activist Janet Barker 

“I remember a chair being pushed out. Then being shoved. I was saying, over and over: ‘This is a peaceful protest, a peaceful protest.’ I was saying it quite audibly, certainly loud enough.”

She could not see the man’s face, and had no idea who he was: “I just knew it was a guy. And that he was very, very angry. You could hear that in the tone of his voice”.

The condemnation and outraged that was felt on social media after the attack raises some interesting questions. I have mentioned a couple of incidents in the political sphere but, in music, I worry the same sort of disrespect and abuse faces women. I was checking out songwriter Nadine Shah’s Twitter feed – as I do sometimes – and she posted about an experience where she was on public transport and a man spread his legs as to give her little leg room. She asked him, kindly, not to do so but he continued. I realise I am highlighting a minority of men but there is a problem across the board. We know there are cases of sexual assault and abuse in music but I am not talking about anything as serious as that. There seems to be a general attitude and ignorance that shows we have a long way to go. I have talked about a lack of female headliners and a lack of belief from the industry. Elsewhere, radio stations are not reflecting the terrific music from women in all quarters and I have seen far too many cases of women being belittled, patronised and ignored.

 IN THIS PHOTO: Nadine Shah/PHOTO CREDIT: Press/Getty Images

The cases involving Barker and Shah are cases where men, in different ways, have acted horribly and seen themselves as superior. There is ugliness in society at large that is not escaping the doors of music. I know I have covered gender imbalance a lot but I wonder, in 2019, are we as close to progressiveness, tolerance and respect as we should – women being treated equally and getting the dues they deserve. I note and respect the fact that some changes are happening. Seriously outdated and male-heavy events like the Grammys, only in the last year or two, are reflecting the realities of the industry today: women are at the centre and no longer ready to be pushed aside. I know so many great female producers, engineers; D.J.s, event managers and venue leaders who are shaping music in wonderful ways. I do think the industry has lacked a powerful female core – something that is starting to shape up now. Whilst it is good that, in some ways, there is advancement happening, I have witnessed too many troubling comments, events and actions that suggest women are not being given the props they have worked for. From sexist attitudes lobbed at them at gigs to the way, even now, there is a massive imbalance regarding gender rights on radio, at festivals and in studios…those in power still need to do a lot more. I shall not pour over the ugliness of sexual assault but, again this week, we have heard of a case where a woman has been treated in an horrific way.

AlunaGeorge’s Aluna Francis, as this article explains was the recipient of sexual advances and assault:

“AlunaGeorge’s Aluna Francis has described an alleged sexual assault by a collaborator whose identity has not been revealed. Speaking on BBC podcast “The Next Episode,” Francis said the assault took place in the man’s hotel room during a break from a recording session. She says she tried to reason with him. “He pinned me down and he’d taken his trousers down and he was trying to put his dick in my mouth,” Francis alleged. “So I wrestled him off, and he was still laughing ’cause he thought it was a game and that I was having a really fun time having a pretend rape situation.”

Francis added that it took time to realize the seriousness of what had happened, saying shame led her to “compartmentalize all of this just for my career.” “Musicians are crazy ambitious about getting their craft out there,” she said. When she confronted the man, she says he apologized and said, “This has never happened before.” She said, “I thought that I was OK and I’m just so not.”

The podcast also includes accounts from Slow Club’s Rebecca Taylor and singer-songwriter Chlöe Howl. Taylor alleges that the visiting head of a U.S. label sexually assaulted her while “blind drunk.” Howl, meanwhile, described a situation where a member of her team became “possessive” over her and allegedly began to sexually harass her.

It boils the blood to think about women being harassed and assaulted but, as we have heard through the years, it happens too frequently!

 PHOTO CREDIT: @vidarnm/Unsplash

From physical attacks to a lack of balance regarding opportunities, it all comes down to a lack of respect. In terms of men who sexual assault women, they can be prosecuted and brought to justice but, for those ignorant when denying women equal say in the industry, it is not as easy to hold them to account. Maybe we are talking about a minority but, when I hear cases on social media – and I do every week – of women in music being snorted at, overlooked in favour of men and made to feel crap, it really does concern me. I feel, from label bosses and festival organisers, there are huge steps that need to happen. I do also feel that there is an attitude rising that feels women are weaker and less inventive than the men. Maybe past years have seen male bands dominate in the press and, when the old order have been fostering male acts too long, does this make it impossible to break the cycle and look at modern music in an objective way?

Sexist attitudes are never, sadly, going to disappear from music but women have had to fight their corner alone for too long. Extreme cases where they are assaulted and attacked is shocking but it is the everyday occurrences that are just as troubling. With few male musicians standing up and raising awareness regarding this sort of thing, I do think more needs to be done full-stop. This ideal of women being seen as too weak to headline a festival; being pretty and having to dress sexily to get attention; to bow to a man’s will and take a step back because they (the men) know best…well, it has to end. I have spoken to some of my female musician contacts on social media and they face oppression every day of their careers. Whether it is male venue organisers not giving them chances or the sort of casual abuse that passes for acceptable in some circles, it is appalling. From the female icons of old – everyone from Aretha Franklin to Annie Lennox – to the exciting new breed, women have a hugely vital place in music. They have been responsible for some of the finest sounds recorded and, in 2019, are rising to the top. This WIRED article shows how this year is synonymous with female power:

“The assertion detonated in the form of prophecy: No longer will music's center hold. And no longer will women like Grande let it. Elsewhere, pop aspirants of uncanny talent—Noname, Cardi B, Mitski, Hayley Kiyoko, Rico Nasty, and Tierra Whack among them—are demonstrating an immodest, near-singular, anti-populist aptitude for industry-wide reinvention. Collectively, their work suggests not a move toward a new center but a removal of it altogether.

In 2018, Briana Younger investigated hip-hop's taste for repression, making note of how it had evolved into an ecosystem "that has kept women at bay, never allowing for more than one female superstar at a time while treating the other women as incidental, pitting them against one another, or ignoring them entirely." (A Billboard chart analysis conducted by Pitchfork further substantiated the claim.) Perhaps by some unknown miracle, 2018 hinted at a future where the cage of history no longer barred female progress: Cardi B, Nicki Minaj, and Beyoncé all commanded public consciousness with comparable and lasting resolve (to read Everything Is Love as anything other than a rap album is to misread Beyoncé's artistic mastery of genre).

..This break, this decentering, is more than symbolic. Often a spectacle of embarrassment and missed opportunity, the 2019 Grammy Awards hewed closer to reality, reflecting the notable strides of its women artists. There was soul enigma H.E.R. winning for best R&B album. Cardi B again made history and became the first woman to win best rap album as a solo artist for Invasion of Privacy. The night's top honors went to country royalty Kacey Musgraves as she won Album of the Year for her magnetic folk incantation, Golden Hour. It was, as several critics and fans noted, a year for women”.

There are still some genres – such as Country and Rap – where women still are struggling to have their voices heard and not getting enough respect. I don’t think it is the case that women do not want to be part of a genre: the truth is that, with so men being promoted, it is hard for them to break in and be taken seriously.

Given what we know of music this year – women are storming it – this surely means that attitudes and perceptions have to change. Listen up those who are too keen to book only men for gigs or feel there is an inherent weakness regarding female artists: there is no denying they are every bit as mesmeric, original and popular than their male counterparts. I know change, real change, will take years to affect but everything from stupid, sexist remarks and unwanted advances to flat-out assault and abuse is happening more than it should. In pure musical terms, women need to be part of the larger dialogue. Radio stations, festivals and venues need to take note. If we do not create more balance in studios, at labels and in positions of power than the female musicians owning 2019 will not have common allies and the same support they’d get from the men. There are so many talented women who could fill these roles but, with rigid barriers, age-old attitudes and a lack of men speaking out, something needs to happen. I, obviously, truly respect and am thankful for women in music and, to be fair, this year would be perilously bleak without them. If we can seriously reduce sexism, abuse; get more respect the way of women and give them the platforms they have fought hard for then this golden run of music we are seeing…

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 PHOTO CREDIT: @antonmislawsky/Unsplas

WILL continue for years.  

FEATURE: Born Under a Good Sign: Growing Up During a Perfect Time for Music

FEATURE:

 

 

Born Under a Good Sign

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PHOTO CREDIT: @rexcuando 

Growing Up During a Perfect Time for Music

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MAYBE I have talked about this before…

but I have been revisiting some of the songs I grew up around. One such song is Sub Sub’s Ain’t No Love (Ain’t No Use) with the brilliant Melanie Williams on vocal lead. That song was released in 1993 and I would have been ten at the time. It is one of those tracks that, regardless of whether you hear it now for the first time or discovered it when it was first released, it has that instant impact. I was born in 1983 and, in that year, so much was happening in music. I was blind and too young to absorb everything happening but music television was being revitalised and popularised by Michael Jackson; the first Now That’s What I Call Music! came out and brought together all the chart hits of the day. Pop was flourishing and Madonna was starting her career; the sale of cassettes was battling vinyl and there was this great feeling in the air. The fact that I was too young to remember 1983 did not mean I missed out on that music. From an early age, cassettes and vinyl were part of my life; chart music was common and popular and I was being introduced to my parents’ collection. I often think that there was this golden period from the late-1980s through the 1990s. Being born in the early-ish-1980s, I was missing that music first time around, but it was soon being fed into my ears through my parents.

The music they loved growing up was being played – The Beatles and The Who etc. – and I was open to this incredible world. The Beatles were a big fixture when I was a child and it was wonderful digesting these epic and genius sounds. Maybe I have brought this to the fore before but, being born in 1983, I was in primary school when that rush of brilliant Hip-Hop and Dance was unfolding. The former was a more a U.S. movement: icons such as The Beastie Boys, De La Soul and N.W.A. were laying down peerless albums and changing a genre. Full of samples, layers and incredible moments, the golden years of Hip-Hop, maybe, started in 1986 and ran through to the early-‘90s. The genre has changed now but I think it was at its strongest back in the 1980s. Also, circling back to the song I mentioned at the top, there was a different movement shaping up in the U.K. There was this swell of love and togetherness that produced some of the most uplifting music we have ever seen. Sub Sub produced their standout hit in 1993 but, in the late-1980s, House and Trance music was really hitting its stride. Madchester and Dance would carry into the 1990s and, from the purer songs that were joining clubbers and ravers together to the chart songs of the day, it was a brilliant time.

 IN THIS PHOTO: Beastie Boys/PHOTO CREDIT: Getty Images

By the time I was in middle-school (around 1990), there was this brilliant scene that housed the likes of Deee-Lite and Soul II Soul. If all of that wasn’t enough, just consider all the stunning albums released in the first half of the 1990s. From Nirvana and Primal Scream to Beastie Boys and Janet Jackson, it was a glorious time to be alive. That might sound a little dramatic but there was a definite explosion. I know I have discussed my favourite memories of childhood involving music but the physical nature of music formats is a reason why it sunk in. From the Walkman and DiscMan to vinyl, I was literally carrying music around me. Whether it was new albums from Prince and Madonna or some of the stuff I got from home, I feel very lucky I was born when I was. Everyone will say things were best when they were young but I was provided the luxury of hearing the best from the 1960s and 1970s; the variation of the 1980s and the golden albums from the 1990s. My high-school years arrived right when music hit its peak. I love all the Dance and Hip-Hop of the late-1980s and early-1990s but, from 1994 and 1999, everything changed. From the Britpop movement and the exciting Pop of the time through to Grunge, Trip-Hop and a new breed of Dance champions, it meant music was a huge part of my day.

Rather than write this as a bit of a boast or nostalgic piece, I wanted to ask whether there is such thing as a ‘perfect’ era of music. Older music lovers might claim the 1960s was best; others might say the 1970s was king whereas those growing up now feel music is at its most eclectic and promising. I am very grateful that I was being raised around some mighty music and was being exposed to the music my parents listened to. I do wonder whether there is the same motivation and dedication for today’s children. Maybe the parents of today are keeping the likes of Joni Mitchell and The Beatles close to their hearts but are there houses full of vinyl? Do children have the same appreciation for physical music formats and are they are curious as they should be? I do have the worry that, when it comes to the music I grew up around, a lot of that might get missed. I am not saying today’s music lacks the same happiness, excitement and impact as the stuff from the 1980s and 1990s but I feel I was very fortunate arriving in the world when I did. I have seen technologies come and go; these huge movements and pivotal albums. I lived through that and, as that music still gives me so much joy and comfort, how important is it we ensure that gets into the ears of this generation?

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 PHOTO CREDIT: Getty Images

I know they do not have the same memories as I do and will not attach the same importance. So much new music is coming out and it can be difficult going back and balancing the two worlds. I see a lot of different playlists on streaming services that take in decades, genres and scenes like House/Madchester. That is pretty cool but are these playlists mostly being discovered by those who remember that music and want to be reminded? Those born, say, later than the early-1990s would have heard some great music growing up but there is a lot they missed. I know I didn’t grow up the same time The Beatles arrived but I was fed their great music from a young age. It gave me such a rich world of sounds but I do wonder whether that same legacy and sense of handing down music exists. There are fewer cassettes in the world; maybe vinyl is being kept back and less popular than digital music in a lot of houses. I think we live in a great time for music right now. 2019 has been truly exceptional and I know that will continue for a long while yet. Kids going through school have a world of music at their fingertips but, unless they have pretty cool parents, they are listening to what is fresh and trending. I could do a playlist that brings together all the music I grew up around but that would take a long time.

Instead, I will encourage people to dig what was happening from the middle of the 1980s through to the end of the 1990s. Maybe I champion this time too much but I feel it transformed my life and got me obsessed with music. There were some dodgy artists and tunes but, hey, no time period is musically perfect! From the portable music technologies of the day through to the excitement of the Dance scene; the interesting and addictive Pop right along to the fantastic music lying around the house, it was a supremely rich and wonderful time. I have not even dug beneath the surface but, to me, there are far worse times to have been born than 1983 – even if the New Romantic artists were hanging around! From The Bangles and Sheryl Crow to the Grunge bands and one-off Dance hits that made us all feel giddy and alive…it was a very special time. Rather than drown in escapism and nostalgia, I recommend those who want to feel boosted and get away from the horrors of the world – who doesn’t right now?! – check out those years (from, roughly, 1983 to 1999). Music T.V. was still a think; we had the Walkman and there was genuine excitement regarding the weekly charts. With that missing, yeah, I do feel a bit sad and nostalgic. Music is a healthy and brilliant state right now but, when thinking of the best time to grow up (in music terms), you can’t beat the experiences…

ME and my friends enjoyed.  

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kelli-Leigh 

An All-Female, Summer-Ready Playlist (Vol. I)

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THE sun is probably out now…

 IN THIS PHOTO: Ariana and the Rose

and there is a real sense of summer in the air! I was going to continue the spring variety of the playlist but the weather is so great that it did not seem right. Instead, here are some tunes that will keep the sizzle factor high but, when needed, bring the temperature down and provide something a little cooler. If you need some great music to soundtrack your weekend, make sure you investigate the female-led gems below. It is a lovely day so I think we all need some great music to give the day some additional pop and shine. Here, in the playlist below, are some essential female-led…

IN THIS PHOTO: Annabel Allum/PHOTO CREDIT: Context Films

SONIC pearls.

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

____________

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PHOTO CREDIT: Sophie Hur 

Hatchie – Secret

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Bad Honey – Somewhere Blue 

PHOTO CREDIT: Riehan Bakkes

Anna Wolf – Silence

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PHOTO CREDIT: @etranter

Rahh – Forget the Rules 

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Kelli-Leigh – Without You

Alexina – Cool Together 

Kelleigh Bannen - Deluxe

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The Regrettes – I Dare You

Daya – Let Me Yet

Bea Miller – feel something

Ariana and the Rose – True Love

Liz Lawrence - Navigator

Millie Turner – Swimming Pool

Hannah Jane Lewis – Is It Even You?

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Eve Belle – Out of Town

Beth Macari – One More Time

Caroline Polachek - Door

Claire Cronin – Saint’s Lake

Carly Rose – birds & bees

Emily Burns – Too Cool

ALMA – Lonely Nights

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Georgia Ku – What Do I Do?

Abby Anderson – Guy Like You

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Emily Weisband – Identity Crisis

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PHOTO CREDIT: Pavielle Garcia

Tess Henley – Same Girl

Ryélle - Last Call

Ea Kaya – Cruel to Be Kind

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Tanners – Fumes

Alex Jayne – Search Party 

Svrcina - Insecure

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Annabel Allum – When the Wind Stopped

FEATURE: The June Playlist: Vol. 4: Positive, Summer Vibes in a Difficult Week

FEATURE:

 

The June Playlist

IN THIS PHOTO: Cassius’ Philippe Zdar/PHOTO CREDIT: Getty Images 

Vol. 4: Positive, Summer Vibes in a Difficult Week

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THE music world lost Cassius’ Phiippe Zdar…

IN THIS PHOTO: Prince

in an accident this week and, with two albums out involving the maestro – from Hot Chip and Cassius -, it is sad and tragic. The fact Zdar is not around to see the reaction to his new albums is heartbreaking but, as we mourn his passing, we have his wonderful music burning bright. Alongside Zdar on this week’s playlist is Prince, Foster the People; Robyn, Fontaines D.C. and Stormzy. There is a great mix of sounds and artists that is guaranteed to give your weekend a kick, eclectic swagger and kiss. It is a brilliant array of music and one that is going to put a spring in your step. Turn the volume up, let the music swim in the blood and…

 IN THIS PHOTO: Robyn/PHOTO CREDIT: Ana Cuba

SIMPLY unwind.  

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

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Cassius – Summer

Hot Chip – Positive

PHOTO CREDIT: Getty Images

Tove Lo - Glad He's Gone

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Prince – Manic Monday

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Metronomy – Salted Caramel Ice Cream

PHOTO CREDIT: Harriet Brown

Black Honey - I Don't Ever Wanna Love

Mark Ronson (ft. King Princess) - Pieces of Us 

Robyn - Ever Again

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PHOTO CREDIT: Daniel Topete

black midi - Reggae

Foster the People – Imagination

Two Door Cinema Club – Once

Sharon Van Etten - No One's Easy To Love

The Raconteurs – Live a Lie

The Night Café – Finders Keepers

Freddie Mercury – Time Waits for No One

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PHOTO CREDIT: Nathan Whittaker

Fontaines D.C. - Sha Sha Sha

Michael Kiwanuka (with Tom Misch) - Money

Nicki Minaj - MEGATRON

P!nk (ft. Wrabel) - 90 Days  

Nilüfer Yanya – Paradise

Alfie Templeman - Stop Thinking (About Me)

Migos – Stripper Bowl

Stefflon Don (ft. Lil Baby) – Phone Down

 PHOTO CREDIT: Vanessa Heins

Leif Vollebekk - Hot Tears

Stormzy – Crown

Hatchie – Kiss the Stars

Titus Andronicus – Hey Ma

PHOTO CREDIT: Zachary Hertzman

Richard Reed Parry – In a Moment

Alex Cameron – Divorce

Cold War Kids – Complainer 

Gerry Cinnamon – Canter

PHOTO CREDIT: Jonathan Weiner

Sum 41 – Never There

The Regrettes – I Dare You

TRACK REVIEW: Fontaines D.C. - Sha Sha Sha

TRACK REVIEW:

 

Fontaines D.C.

PHOTO CREDIT: Daniel Topete 

Sha Sha Sha

 

9.6/10

 

 

The track, Sha Sha Sha, is available via:

https://www.youtube.com/watch?v=IayA-pUG22k

GENRE:

Post-Punk

ORIGIN:

Dublin, E.I.R.E.

RELEASE DATE:

19th June, 2019

LABEL:

Partisan Records

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The album, Dogrel, is available here:

https://open.spotify.com/album/1i9PDv6BO8c8Y5lxMG6Lej?si=zTYw6XiFSdeR2k6-mTzV_A

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THIS year has been an action-packed one…

for music and, in the midst of all this excitement, there have been some truly staggering album. I have written (many times) how women are leading the way and, to me, they are right at the top of the tree. That is not to say the guys are lacking clout and quality: in fact, Fontaines D.C. have produced a real masterpiece with their latest album, Dogrel. I will look at the latest single from that album soon but, before I get there, I wanted to talk about bands and the state of affairs there; this year’s collection of sounds; Irish music and creating more balance in the industry; deeper themes being tackled in music and genres like Post-Punk – I shall end by seeing where Fontaines D.C. are heading and what their future holds. One might look at that plan and feel that I have covered a few of these themes before. That is true but, to be fair, I have not examined Fontaines D.C. and this year has evolved and shifted so quickly that, inevitably, themes do reoccur and I can add new light to an older topic. Whilst the band market is no way as strong and popular as it was years ago, there is this feeling that it is making a comeback. Perhaps there is not the dominance in the mainstream as there once was. I am tracking my mind back and trying to figure the last time bands were ahead of solo artists in terms of popularity. Maybe we have to visit the 1990s to discover all those rich and iconic bands who were uniting us all and providing this sensational music. Certainty now, there is this proliferation of solo artists and, whilst it is not a bad thing, one feels that bands warrant a bit more focus. With exciting acts such as Squid and IDLES providing something kicking, raw and fresh, there are bands out there to get excited about. Perhaps, when we think about bands now, certain genres come to mind: gone are the days when the great Rock and sophisticated Pop bands had a real place in the industry.

 PHOTO CREDIT: Daniel Topete

That said, this week has seen new releases from Two Door Cinema Club and Hot Chip. There are sensational groups playing but, in terms of the wider landscape, the solo artist rules. That dominance was more pronounced a couple of years back and, fortunately, there has been a revival recently. Although Fontaines D.C. have been kicking around a little while now, they have made a real stand with Dogrel.  I, for one, do miss the days when bands used to headline festivals and the mainstream. I know The Cure and The Killers are headlining Glastonbury but I mean newer bands. In a couple of years, one might imagine IDLES and Fontaines D.C. topping bills. Both bands have played on the same bill as one another and they both have this electricity that is hard to resist. I love what solo artists are putting down but, in order for a good mixture to form, we do need bands to exist. I feel Fontaines D.C. are one of the strongest around and provide that great blend of directness and energy combined with a grace and accessibility that means you do not need to be a Post-Punk fan to get what they are about – more on that a bit later. I shall move on in a second but, first, think about Fontaines D.C. and how they make you feel. There is something about the vocal accent; the way the play and how their songs make you feel that gets into the blood and stays in the head. They are one of the most exciting groups of the past few years and, with Dogrel getting smash reviews, the boys should prepare themselves for a very busy and prosperous future. What with so much music bubbling around, it is always going to be the case that there is an imbalance between bands and solo artists but, at a time when solo artists are really striking out, I do like the fact there are bands challenging; some big players that prove the industry is not reliant on solo artists foe gold.

I have talked about bands and why Fontaines D.C. excite me but, looking further, and you can see all the sounds and genres popping. I do not think I have lived through a year where so many ideas have been spliced together. Even as a Post-Punk band, there are so many lyrics themes, nuanced and compositional touches injected into Fontaines D.C.’s locker. The mainstream Pop scene might not have progressed as much as one would have hoped but, away from that, one can find so much eclectic brilliance and sonic invention. I have been struck by the female artists of 2019 and the music being made. From the great Folk of Billie Marten to the Neo-Soul of Jamila Woods; the great Hip-Hop of Little Simz and the exciting Pop of Self Esteem – 2019’s very best is a lot stronger and more compelling than previous years. I am not sure what has accounted for this real rise in quality but I think, with women biting harder and showing how strong they are, the scene is much more assured and bold. That is not taking anything away from men but, alongside these multifarious female artists, great bands like Fontaines D.C. are making their mark. With the political scene being in a state, I do feel solo artists and bands are addressing that through their music. I will discuss Fontaines D.C. and their political bent but, when one investigates the spread of music this year, it is mind-blowing. It has been a huge year for music and I cannot get my head around everything. Not only are artists documenting what is happening in the wider world and the nature of politics right now but, when it comes to splicing sounds together, artists are making a huge leap in 2019. Maybe this subject is appropriate of nothing but I think Fontaines D.C. are defining 2019 and what artists are made of. The reason I wanted to bring up this point is because, in previous years, the scene has been a bit limited and narrow.

It is only June now and, when you consider what has come already, it is remarkable. I am bracing myself for the storm and it will be amazing. All of this diverse music will act as inspiration to artists emerging. Maybe that is why bands sort of took a back seat: the fact there were a few that sounded the same and it did not give music the depth and variety it was shouting out for. Now, bands are broadening a bit but I do still think that the most challenging and genre-hopping music is being made by solo artists. The real strength of Fontaines D.C. is their words and how they mix the political, social and personal. I am a big fan of escapism and something not overly-serious but, in a year that has been blighted with upheaval and division, we do need artists to document that. I will talk about Fontaines D.C. and some of the issues they address in their music, but it is thrilling hearing them perform and the power they provide. It is clear that 2019 (so far) has been epic and I expect that to carry on unabated. I think another thing that marks 2019 out for special consideration is that sense of boldness artists are showing. So many are stepping away from convention and giving their music all sorts of possibilities and angles. It is remarkable watching it unfold and, in terms of what Fontaines D.C. are doing, they are a band that have taken the rulebook and ripped it up. They can give us these big choruses that get the people singing but they use their platform to speak about something important; making you think and getting into the head. They mix fun and the serious and they are an exceptional live act. I shall move on but I wanted to discuss 2019 and why, to me, it is a year that is going to be hard to beat.

 PHOTO CREDIT: Andrea Gonar

Most of the music I have covered this year has been from British or American acts. I think, as is common, most people tend to focus on these two areas. Although Fontaines D.C. are performing all around and travelling far, there are based in Dublin and I think the city is teeming with terrific music. I feel there is a part of us that still assumes the only great music is in the U.K. or U.S. In fact, if you listen to what is happening in Australia, you are spoiled for choice regarding terrific music. Sweden is always ripe and brilliant and I love what one can find in Canada. The world is not limited to the U.K. and U.S. but I think the media doesn’t spend enough time with other areas of the world. Dublin is a wonderful city that has not been shy regarding legendary acts. Girl Band and Fontaines D.C. are the two best contemporary bands from Dublin but, if you look back, there is a wealth of talent to be found. I do think Dublin’s music has a distinct tone and flair. Maybe there is a rawness and physicality in the air but I always associate the city with genres like Punk and Rock. Can one link that to a music history in Dublin or a personal preference? Whatever the reason, Dublin should not be overlooked regarding the new wave of artists to watch. The nation has splendid people and there are some truly great venues to be found. This great feature from 2017 highlighted some great Dublin acts to watch and many of them are storming it right now. I am not sure whether there is a more updated article but, looking at the feature above, and you can see the variety of music coming from the city. The feature sort of disproves my theory that Dublin is heavy with heavier sounds: there is some wonderful Pop and Folk to be found. I shall keep the theme going in the conclusion but, right now, I wanted to look at Fontaines D.C. and an interview that struck my mind.

When speaking with The Guardian, Fontaines D.C. discussed why there is something liberating in Irish music; why gentrification is robbing cities like Dublin of their identity and how Brexit is creating splits between Ireland and the U.K.

 “There’s a natural rebelliousness to Irish trad music,” says Deegan, the band’s bassist. “That combined with punk feels really natural. I think singing in an Irish accent on top of punk, it just doubles down on that sense.”

Chatten’s rugged vocals are key in defining the Fontaines DC sound. In person, he spins the streetwise wisdom of a beatnik balladeer, his conversation delivered in a gripping drawl through a sleepy exterior. This classic frontman allure has helped make Dogrel the most hyped Irish rock debut in years – a quick ascent for a group of twentysomethings whose initial desire was to form a kind of “punk Beatles”.

This very Irish album arrives at a time when Anglo-Irish relations are as strained as they have been in years, with Brexit negotiations pitting the nations in opposite corners. “The only thing that concerns me about that is the state of Northern Ireland,” says Deegan. “I don’t really care what Britain does. That’s kind of the whole point of forming a republic in the first place.”

The album ends with Dublin City Sky, a lament to the end of a toxic relationship and the fracturing of the city’s bohemian character under the weight of capitalism and gentrification. “It feels very important to explore the dying culture that’s being murdered by gentrification,” Chatten says. “It’s casting a shadow on what we love about the city and that gives us the impetus to write about what’s in that shadow”.

That is just a few quotes from the interview – I urge you to read the whole piece – and it shows that, like I said, the band is eager to tell it like it is. In terms of an Irish sound, there is definitely a liberation and rebelliousness that is lacking elsewhere.

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From the wilder and more charging acts like Fontaines D.C. to the arresting sounds of Wyvern Lingo, there is plenty happening in Dublin. I love what the city is giving the world and the sheer character running rampant in the music. It is clear E.I.R.E. (and Northern Ireland) warrants greater affection and coverage. The other parts of that interview – concerning gentrification and political struggles – stood out. If you have never been to Dublin, you might not know how the landscape is changing and what is happening there. It is clear capitalism and gentrification is changing cities like London but one might have this romantic image of Dublin in their minds. It is clear there is history and tradition still standing but, more and more, money is changing things and tearing down tradition. It is sad to see and, for artists, that must cause pain and upset. Raising this point in music gives us all an insight into cities like Dublin and what is going on. Also, regarding gentrification in general, does a more generic skyline lead to a diminished quality in music? It is the personality and history of a city that stirs something in the blood. If that is eroded then, in my view, you lose that spark and influence. Gentrification is not often discussed in music and I am glad Fontaines D.C. have covered it. Their tackling of Anglo-Irish relationships right now hits the hardest. The ongoing border issues with Ireland mean that there is a definite strain right now and we are unsure whether both E.I.R.E. and Northern Ireland will be trading with the rest of the U.K. post-Brexit. It is a sorry situation and I hope there is some resolution soon enough. Dogrel is an album that holds a lot of truth and opens eyes. You do not need to know about Ireland and the politics of the country to be able to identify with the songs. The guys are laying things out on the table and are giving us some of the most striking and memorable songs of the past few years. Let us move on as it is time to review the latest single from Fontaines D.C., Sha Sha Sha.

 PHOTO CREDIT: Molly Keane

There is a percussive pummel and build-up that, oddly reminds me of Guillemots’ Trains to Brazil – a little heavier but still in that same vein. Anyway, the song does have that strict and exciting heartbeat that suggests something quite intense is brewing. With a gorgeous kick and some strutting riffs, we transform from this somewhat close and brooding beat to a song that opens out and seemingly dances. It is almost like someone dancing in the rain; merriment mixed with this real sort of grit and defiance. When the lyrics come through, there are pictures and instant images projected. Our hero talks about (his subject) being “so real” – he is a “show reel”. I love that wordplay and contrast that suggests the heroine is someone – I assume, in the early phases we are talking about a relationship – who is grounded and a bit too real whereas our man is a bit of a dreamer. She, it is told, works hard but steals; she is someone who runs wild whereas the hero feels a bit like an “old tattoo”. I get the feeling of racing hearts and hidden desires. In terms of placing the song, it has a sort of homely feel whereas the band is documenting scenes around them and the realities of their daily lives. Like any Fontaines D.C., it is not long until there is some humour thrown into the blender. The first verse, to me, is about a sense of lust between these two very different people. The girl seems a bit like a freewheelin’ sort who takes risk and is bringing the best from the hero – and some of the worst elements, too. When the song progresses, we are introduced to a cabbie who pees over his steering wheel; heads are hitting the pavement and there is this feeling of chaos and drunkenness. Sha Sha Sha is under three minutes and has that sense of economy and tightness. There is little time for soloing and excursion as the guys have something important to get out.

I do like how Fontaines D.C. can pack a lot into a pretty short song. I am not sure whether there is a linguistic important to the ‘sha’ of the song or whether it is the name of the girl – maybe a shortened version of Charlotte. Whatever the origin of the title, the word is repeated just before the verse about cabbies losing control of their penises and unrest in the streets. There are men pumping up tyres, dimly lit and there is always this sense of un-rule and spool. Maybe it is a look at the Dublin nightlife or it might be another location. We can all relate to that rather vivid and illuminating aspect of the city and what it hides when the lights go down. Despite the fact there are good things happening, there is always going to be that contrasting sense of dirt and reality. Juxtaposed against these romantic ideals and passionate thoughts, one can almost smell the oil and pee that threatens to take the beauty out of everything. Fontaines D.C. are brilliant when it comes to descriptions and painting these very real scenes. They do not disguise their words or use clichés: everything they put onto the page comes from their own experiences and, to ensure the songs hit hard, they do not feel the need to disguise and hold back. The fact that there is a clear Irish accent at the forefront – rather than something Americanised – gives Sha Sha Sha its authenticity, beauty and grit. It is one of the more underrated songs from Dogrel and one you will keep coming back to time and time again. That triumphant and dogged beats gives the song an endless thrill and toughness that guides the vocal and gives it extra clout. The band is terrific and always in-step. Every song Fontaines D.C. touches turns to gold and their songs have such variety. I use that word (variety) a lot and, with the Irish band, that comes in spades. They keep their identity strong but they can take these Post-Punk songs and add so many different shades and colours. Sha Sha Sha is a fantastic song from one of 2019’s very best year – the mighty and all-conquering Dogrel.  

 PHOTO CREDIT: Kevin W Condon

Fontaines D.C. have come a long way in their careers. Recently, they supported IDLES on the road but, with Dogrel scoring high, the boys are causing a storm all on their own. I guess that exposure with IDLES helped regarding international gigs and, right now, the lads are planning U.S. dates. In fact, they head to Seattle in September and there is all sorts of things happening up until that point. They are a fantastic live acts and, like their IDLES buddies, Fontaines D.C. have this vibrancy and passion that scores songs with a real sense of purpose and importance. I do think, considering Fontaines D.C., we need to look closer at Irish acts and actually investigate bands in more depth. There is still that reliance on solo acts and, whilst this is good, many terrific bands are not getting the focus they deserve. I do feel like there is this rising and wave right now that is worth getting excited about. Maybe we will not quite see the same sort of wonder we did back in the 1990s but there is nothing to say that, in a few years, solo artists will be the go-to when it comes to brilliant music. I have mentioned a few bands in this review but there are many more emerging. It is a great time for new music and I cannot wait to see what the rest of 2019 holds! We have seen some remarkable albums thus far and I do think Dogrel is right near the top of the stack. I shall end things in a minute but I just wanted to stand back and take it all in. I do think Fontaines D.C. are one of the finest bands right now and a mighty force in music. They are a sensational live act so go and see them perform if they are near you. Go get Dogrel and discover an album that is just what modern-day Britain needs.

The Dublin-based band is showing how politicians in our country are impacting them and, in a wider sense, there are huge problems bubbling. I do not think we should ignore what is happening and bury it. Music is this terrific forum where artists can speak the truth and ask for change. From gentrification to border issues, Fontaines D.C. are definitely speaking more truth than many of the politicians out there. That seems to be the thing with music right now: so much uncluttered and direct messages; nothing like you’d hear our Government spewing! I shall wrap things up in a bit but I wanted to talk about this incredible band and the awesome music they are producing. 2019 has been synonymous with variation and bravery from all corners. This sheer variety is a really good thing and will impact the next year of music and, in fact, the next generation of artists. Although my favourite albums of the year (so far) have been made by women, I do love Fontaines D.C. and what they are doing. They are a wonderful act that we need and, in terms of the music, they are setting the scene alight. Their gigs are legendary and I do think we will see them headline festivals soon enough. I do not say that lightly and I am sure many music journalists will agree with me. Dogrel is a masterful work and the newest cut, Sha Sha Sha, is a mighty thing. Let us take things down there. I want to end by quoting (again) from that Guardian interview; some interesting points that were raised:

“If there’s any justice, Fontaines DC’s debut album Dogrel will enter the canon of classic dramatic depictions of Dublin. The city is unalterably embedded in the record’s DNA – it is as quintessentially Dublin as the work of James Joyce was a century ago. “I think a lot of our music sounds, to me, like buses and trains and just hordes of people on particular streets in Dublin,” says frontman Grian Chatten, who is sitting opposite me in the Clarence hotel, flanked by his bandmates Conor Deegan III, Conor Curley, Carlos O’Connell and Tom Coll.

The band’s punk licks and brogue-heavy narration present an unvarnished but undeniably romantic version of the city: this is music that sounds like Dublin feels. Chatten’s heavily accented vocals play a part; there are references to specific areas, pubs and landmarks, plus a cast of characters who populate the songs. But there is something more than just portraits. The rough production and rickety rhythms conjure familiar Dublin moods: bustling markets, rain-streaked cobblestones and the rumbling of cold early-morning commerce. “I think of Dublin and our music as one and the same, because it was written by people who were intensely absorbed by the city,” says Chatten. “We were just really consumed by it; it influenced us in just the way street corners looked and how people spoke, and absolutely every aspect of it filtered through”.

Dogrel, to be truthful, is a masterpiece and one that is so rich with meaning, visions and life. I would be shocked if it was not named in the best albums of this year in December. Make sure you embrace these guys and follow their career very closely. They might have started life on modest foundations but, with exposure and tremendous music under their belt, these boys are about…

TO conquer the world.

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Follow Fontaines D.C.

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FEATURE: Safe from Harm: Why We Need to Increase Security at Music Venues

FEATURE:

 

 

Safe from Harm

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PHOTO CREDIT: @josephtpearson/Unsplash

Why We Need to Increase Security at Music Venues

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ALTHOUGH the atrocious attack at the Manchester Arena…

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 IN THIS PHOTO: Martyn Hett (right) was among the twenty-three people who died as a result of the terrorist attack at the Manchester Arena on 22nd May, 2017/PHOTO CREDIT: @martynhett

happened two years ago, the reverberations and smoke remains. Twenty-three people died in the attack of 22nd May, 2017 and it left scores injured. It was a horrible thing to see happen and, out of nowhere, a peaceful concert (fans were there to see Ariana Grande) turned to chaos. I remember hearing the story break and following the developments. It was an enormous shock to see a suicide bomber enter the foyer of the venue and create a moment of sheer madness. Apart from the dead and immured, questions were raised. There is not a lot anyone could have done in that situation regarding the attacker and what he did. He walked in to the venue and, in this very quick moment surrounded by people, detonated an explosive. It is understandable that, in the wake of the tragedy, people asked whether more could have been done. How did this happen and why did it happen? Unfortunately, one can never prevent every horrific event from occurring but, recently, there have been calls for greater security at venues. This BBC article explains how there is movement/call for great action:

“A former National Counter Terrorism Co-ordinator has told the BBC the government is not doing enough to ensure that venues are secure.

Nick Aldworth has warned new legislation is needed to reduce the impact of any future attack.

He is supporting a campaign for more rigorous checks at venues, under the name Martyn's Law, after Martyn Hett, a victim of the Manchester Arena attack.

IN THIS PHOTO: Ariana Grande/PHOTO CREDIT: Getty Images 

He said such a law could have prevented the spate of attacks in the UK in 2017.

At the time, Mr Aldworth was a Metropolitan Police chief superintendent in charge of keeping Londoners safe.

"People died on my watch when I was responsible for trying to keep London and, more subsequently, the UK secure," he said.

At the moment, venues such as theatres, cinemas, and concert halls do not have any legal obligation to put counter terrorism security in place, or to plan for what they would do in the event of an attack.

"I think that without being specific - because there are coroners' inquests under way at the moment - I think there are definitely some places that could have benefitted from some infrastructure," Mr Aldworth continued.

"But one of the things I was told after one of the attacks by a survivor... was she was in a restaurant and nobody knew what to do."

Many places do have bag checks and security screening but Mr Aldworth said it was not the case everywhere, and that some venues were "reckless and negligent".

Responding to the calls for Martyn's Law, security minister Ben Wallace said: "Going to concerts, exhibitions, shopping centres, watching sport and other events are part of the fabric of life, things that should be enjoyed without fear”.

Through the years, there have been few wide-scale tragedies such as the attack in Manchester. An attack at the Bataclan in 2015 left many dead and, again, it would have been hard to detect attackers.

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 PHOTO CREDIT: @ev/Unsplash

That said, there were questions raised suggesting security was not tight and vigilant enough. Even if we are talking about smaller attacks or sexual assault, in areas where there are hundred/thousands of people, ensuring there is more security is key. In the cases of the Manchester Arena and Bataclan, perhaps having bag searches at the very front of the venue would have deterred attacks and any chance of a tragedy happening. It sounds quite strict and severe but, with that barrier being placed in the street, as it were, you sort of reduce the chance of anything happening. I know that sounds simplistic but these tragedies occurred because the attackers were able to get into the venues and mingle with the crowds. It might be unfeasible to impose strict and heightened security checks at all venues but, in terms of the large arenas, there does need to be this initiative. One might say that, if there was this imposing and very present vision of security, it might make people more nervous; like something was about to happen or they should be worried. I do agree that, if we go too far, it does give this sort of rather daunting impression but, with people still scared to attend big gigs through fear of attack, increasing security and bringing in new guidelines is a good thing. Fortunately, we do not experience attacks that often at venues but, on a smaller scale, there are cases of violence and assault.

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 PHOTO CREDIT: @yvettedewit/Unsplash 

Music should be a safe space and, at concerts, we should be able to attend without worrying about trouble and disruption. It is hard to police so many people and keep everything safe but, in order to make venues safer and create a feeling of safety, action does need to take place. In the wake of the attacks in 2015 and 2017, police forces and venues pledged to step up security and make things safer. There has been improvements but, as the report at the top of this article suggests, there is this vulnerability and nervousness that lingers. I have also heard about cases of sexual assault at venues. We assume security is needed, primarily, to avoid major catastrophes but, on a simpler level, there are incidences where women are being assaulted and attacked. Again, it might not be the easiest thing to eradicate but there are too many cases where women are being made to feel unsafe. Manchester is the first city to sign up Martyn's Law and it will mean, going forward, there are tighter checks at venues. Whether it is increased intelligence surveillance or increased C.C.T.V. Maybe there will be more security guards and police at venues or simple bag checks at the entrance to venues – all of this will make a big difference. Although there are fewer attacks at outdoor events, the same sort of measures there are needed, I think. I am not surprised Manchester has signed up and is leading the way.

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 PHOTO CREDIT: @5tep5/Unsplash

I am not saying that because of the Arena attack in 2017 but (because) there is this proactive and conscientious nature. It is about time and, with our Government not doing enough, let’s hope this example leads to change. I think, as we all become more anxious and unsure, having counter-terrorism officers and checks put in place will make us all feel safer and less worried. We all, essentially, want to enjoy the music and come together as people. If we all have to look over our shoulders or forsake gigs because of attacks, that creates a really worrying situation. It is not just music events that will benefit from the new measures: theatres, smaller spaces and cinemas are also vulnerable. We remember those killed and injured in Manchester (and other attacks) and the right thing to do is honour them and ensure such awful events do not happen again. If we can make venues and public spaces feel secure and tight then that would provide peace of mind. I know it is not possible to avoid every incident and accident but, by making a concerted effort and promising greater security, it will definitely make a difference. Largely, luckily, venues are safe spaces but it only takes one attack to rock the foundations and create a huge setback! Let’s hope that does not happen and, in the meantime, these new calls will (one hopes) provoke venues and public spaces throughout the U.K. to think hard and promise increased protection. Ensuring we are all safe from harm is paramount and I, like so many people, know that the safety of gig-goers and the general public is…  

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 PHOTO CREDIT: @lifesimplyrocks/Unsplash

THE most important thing.

FEATURE: Setting the Record Straight: 2019 and the Dominance of Female Artists

FEATURE:

 

 

Setting the Record Straight

IN THIS PHOTO: Little Simz (whose album, GREY Area, is one of 2019’s finest so far)/PHOTO CREDIT: Vicky Grout

2019 and the Dominance of Female Artists

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ONE can forgive me for repeating a subject…

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

but I feel the ongoing imbalance and sexism in the music industry juxtaposes the sheer weight and depth of music being made by women. There is, as I have said before, a sense of moving in the right direction relating to gender inequality and improvements – if some areas are slow to reform, others (such as festival bills) are starting to strengthen and tip the scales. I still think there is this lack of awareness regarding women in the music industry. In a recent piece, I argued how many radio stations still have too many men on the playlist and, with such great female artists past and present, why is that the case?! Also, this year has been an immense one and that needs to be reflected. It is not just the more visible mainstream where women are dominating this year. I keep up with what is happening in Country music in the U.S. There is a real problem, regarding radio stations and attention, getting women to the forefront. There are so many strong female Country artists having to fight for prominence because it (the genre) is so skewed towards men. Getting back to the subject at hand and, when we list the best albums and singles of this year, I think the majority has been made by women. A couple of recent singles that have spiked my attention are Sampa the Great’s Final Form and Sleater-Kinney’s Hurry on Home. The Center Won’t Hold, Sleater-Kinney’s tenth album, is coming soon and finds the majestic St. Vincent handling production.

Sampa the Great has more material coming soon, but I was blown away when I first heard Final Form – it is a song that packs in so much and has such a vibrant, raw soul. It is confident and cool; it is cultured and vulnerable. It is my favourite single of the year and, looking forward, I think we will see more revelations and year-defining cuts from women. Whether it is the mysterious SAULT – a female-led band where not a lot is known about them – or the excellent Hannah Cohen, there is something fantastic happening right now. In fact, Hannah Cohen’s new album, Welcome Home, has received warm applause – it is her first album in four years. AllMusic, in this review, highlighted its merits:

“Contrasts between likewise light, billowy sonics and clean snare and guitar tones fill the space beneath Cohen's ethereal, yearning vocals with elegant texture on the majority of the album. She does strip things back, though, midway through the album on the existential cabaret ballad "What's This All About." It offers one of Cohen's more haunting melodies with only time-keeping piano chords as accompaniment. Later, "Return Room" features just voice and arpeggiated acoustic guitar until gentle, sustained synths reinforce the repeated "I won't let you down" before the song evaporates into the ether. Cohen's voice maintains the album's consistently floaty quality through these sparser tracks, making for a relentlessly dreamy set that's lost in thought and desire”.

IN THIS PHOTO: Billie Marten/PHOTO CREDIT: Katie Silvester

Charlotte Adigéry is another really great name to watch. She released the Zandoli E.P. earlier this year and it has received praise. Her music deals with everything from sexual experiences and spectrums to a call against despair; an embrace of hope and finding light. These varied and deep subjects are scored with incredible vocals and highly memorable lyrics. I think Adigéry is one of these women who will be making music for years to come and, in a music landscape packed and competitive, she stands ahead. Not only have there been some great E.P.s and singles from women in music but, crucially, the album output has been fierce! I am torn between Billie Marten’s Feeding Seahorses by Hand and Jamila Woods’ LEGACY! LEGACY! as the finest L.P. of the year. I was the first (I think) to review Marten’s sophomore record and I was, like many, mesmerised by her exquisite voice and songs. A broader and more mature/political album than her 2016 debut, Writing of Blues and Yellows, Feeding Seahorses by Hand is the young, Yorkshire-raised teenager moving to London and addressing the wider world. The Line of Best Fit, in their review, summed up the album perfectly:

“This collection of softly sung songs forms nothing short of a gentle and reserved masterpiece. It would have been easy for Marten to have made this record with the same restricted tool set she used on her debut, however she opted for a riskier route that has certainly paid off. Throughout the album Marten refuses to place restrictions on herself, but manages to never go too far, and add more to a track than it needs.

On Feeding Seahorses, Marten has managed to skilfully navigate a true artistic tightrope by developing and building on the sounds of her minimalistic debut, without losing any of its original essence. Nothing is lost, only gained”.

In regards Jamila Woods, LEGACY! LEGACY! is a tribute to legends and icons who has inspired her. This Pitchfork feature allows one to see all the songs broken down and explained. I love the blends of Neo-Soul and Soul/R&B; the warm-yet-powerful vocal coming from Woods and the way one immerses themselves in the songs. I recommend people get the album as it is enormously impressive and accessible – one does not need to know about Woods’ subjects to appreciate the songs. Little Simz’s GREY Area is another album that has been dropping critical jaws. In an exciting and bold year for British Rap/Hip-Hop, Simz is standing ahead of the pack. Her flows and lines are wonderful; her sheer confidence and passion is electric…and one is helpless to resist the effect! I would not be shocked to see GREY Area walk away with the ‘best album of 2019’ award from all critical outlets. In fact, in most genres, women are showing more bravery, intentional and quality compared to the chaps. I have mentioned a great female singer-songwriter, Billie Marten, but one has to also mention Julia Jacklin and Sharon Van Etten. The latter’s album, Remind Me Tomorrow, is a personal and arresting collection of songs. On this album, Van Etten wanted to reconcile light and dark and create something fresh. Remind Me Tomorrow is an extraordinary album from one of the world’s best songwriters. I have been a fan of Julia Jacklin for a while and, on Crushing, she has poured her heart and soul out.

Crushing is definitely in my top-ten albums of the year and, again, the critical reception has been very encouraging. Rolling Stone were deeply impressed by Crushing:

“Jacklin seems fascinated by corporeality and consciousness, the ways in which she can learn from and communicate with her own physicality. On “Body,” an overwhelming sensory experience leads to new emotional awareness: “I felt the changing of the seasons,” she sings, “all of my senses rushing back to me.” By the very next song, the standout “Head Alone,” she’s disputing Descartes’ “I think, therefore I am” formulation, employing clever metaphor to center her bodily existence: “Give me a full-length mirror/So I can see the whole picture,” she pleads. “My head alone gives nothing away.”

When Jacklin isn’t waxing philosophical on mind-body duality, she’s simply showing the special way she processes the world around her. The result is a profound statement that stands as an early candidate for this year’s strongest singer-songwriter breakthrough”.

Not only are female solo artists dominating: the female-fronted band is doing sterling trade! Hands Off Gretel are one of the most-talked-about bands of this year and I recommend you check them out. Another couple of female-fronted bands that are making waves are Amyl and The Sniffers and YONAKA. Different in terms of style, the former’s eponymous album has been getting some positive press. They were formed in Australia and offer something visceral and scintillating.

IN THIS PHOTO: YONAKA/PHOTO CREDIT: Press

YONAKA are more Pop-Punk based but, once more, their latest work has been hitting the mark – Don’t Wait ‘Til Tomorrow has won its fair share of positive reviews (this NME review is one such example). If you want toms great Pop then Billie Eilish and Ariana Grande offer very different worlds. The former’s album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?, has been thrilling people and, from a teenage artist, it is extremely mature, developed and striking. NME, when reviewing the album, could not find fault:

“There’s little to plausibly fault on the record. Previous singles are included sparingly (2018’s ‘When The Party’s Over’ and ‘You Should See Me In A Crown’), and there’s a real level of intrigue waiting on every song, partly as only two new songs (‘Bury A Friend’, ‘Wish You Were Gay’) got a pre-release. It’s an album that moves with purpose and knows when to hold the listener tight, or grab them by the scruff of the neck and drag them into her world. That said, one nitpick is the pacing towards the end, with the final three songs – ‘Listen Before I Go’, ‘I Love You’ and ‘Goodbye’ – providing an melancholy end close to an otherwise thrilling album.

‘When We All Fall Asleep…’, then, ticks all the boxes for a memorable and game-changing debut album. It’s enjoyable and familiar, but retains Billie’s disruptive streak. It’s a brave and resounding first step for an artist with bags of potential and over the next decade, you’ll no doubt see popular music scrabbling to try and replicate what this album does on every level. There’ll always be copycats, as Billie noted on her 2017 song of the same name, but none will be able to reach these heights any time soon”.

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IN THIS PHOTO: Ariana Grande/PHOTO CREDIT: Theo Wargo/Getty Images

Aside from her not being a fan of different cases – in terms of lettering – Ariana Grande’s thank u, next has also won hearts and plaudits. It is a very solid and eclectic Pop album that is a lot deeper and more nuanced than a lot of what her rivals produce. Whilst male-led guitar bands are still being favoured as festival headliners, I wonder why Grande has not been considered as an alternative – in this country, at the least. Other terrific 2019-albums from Stella Donnelly (Beware of the Dogs) and Solange (When I Get Home) show what variety and mesmeric vibes there are emanating from female artists. This is not to say the men have been lacking this year – top albums from Dave, James Blake; Loyle Carner and Slowthai will all be hustling for that albumof the year nod – but I think women in music are leading. Maybe it is because their work is more personal and real; perhaps it is their sheer weight, clout and passion; maybe it is the fact there is a tangible air of change in the air – whatever it is, I feel 2019 is a year where we have to recognise the brilliant women in music! Before I finish, I want to mention the other albums and singles created by women; those that are owning 2019! I shall come to the other artists on my mind but, with Madame X out, Madonna is very much in the spotlight. Following a couple of less-than-her-usual-best records, Madame X is a brilliant and genre-hopping return-to-form.

It is an album I expect to see challenging for this year’s best and, as The Line of Best Fit explain, it is good to have Madonna back at her most evocative and provocative:

“Her provocateur credentials are revitalised to an extent on Madame X, with socio-political themes embedded in its essence and current societal discord interpreted through an inimitable dystopic lens. A chameleon-like reputation for reinvention is secured and self-referenced, as she occupies various personas, such as a head of state, a freedom fighter and a spy in the house of love. This consistent transience extends beyond its premise to a multilingual scope; fluidly flitting between English, Portuguese and Spanish, delivering lyrical wit with an economy that has proved a definitive trait of her oeuvre”.

A near-namesake of Madonna…Madonnatron, is a band well worth exploring. I have just featured the band - but they are getting a lot of buzz from radio stations and fans alike. Their new album, Musica Alla Puttanesca, is a bounty of colours, instant tunes and wonderful images. The band have such a tight connection and, like YONAKA, there is a bit of Pop-Punk happening…but Madonnatron throw even more into the mix. I love what they are throwing out and, not only are they are one of the most exciting bands of 2019, but they have the potential to become festival legends. I am also a huge fan of Honeyblood and their album, In Plain Sight, crackles with energy and brilliance. Listen to the album in full and you will see what I mean! Stealing Sheep, again, are a band I have recently feature; their new album, Big Wows, is a stunner. Bright, danceable and wondrous tracks; this is a band that we need to embrace – bringing the fun but, with it, a mix of the serious and personal.

If we want to talk about album that have defined 2019 then one must include Weyes Blood’s Titanic Rising into the conversation! It is one of my favourites and is a gorgeous, spellbinding record that stays with you long after it has finished. This is what Pitchfork had to say about Titanic Rising:

“The truth that lies beneath Titanic Rising is that love blossoms and love wilts. This law of nature is mirrored in the emotional arc introduced by “A Lot’s Gonna Change.” “Everyone’s broken now/And no one knows just how,” she murmurs on the monumental “Wild Time.” The songs are more stoic and elegant even when Mering sings of apocalyptic imagery like a “million people burnin’.”

But Mering’s business is not of misery, but of faith. She suggests dystopian images, but insists that with action, beautiful results are possible. Titanic Rising comes full circle with the instrumental closer “Nearer to Thee,” which borrows the string arrangement from “A Lot’s Gonna Change.” The song’s title alludes to the hymn that the Titanic’s house band supposedly played as the ship sank. Here, as it was then, Weyes Blood can’t help but offer one last breath of hope as she gazes towards an uncertain future”

Other great albums by women this year include K Á R Y Y N withTHE QUANTA SERIES – one of the more ‘outsider’ albums but one that is full of interesting moments and ideas. Jenny Lewis, too, has produced a swaggering and epic-as-hell album with On the Line. It is a breakup record that, instead of looking for sympathy and dragging you down, lifts you up with its defiance and strut. The reviews (for On the Line) have been incredible and Lewis is one of the best artists out there right now.

IN THIS PHOTO: Cate Le Bon/PHOTO CREDIT: Getty Images

Although a few men will feature in the end-of-year lists regarding the best albums, I think artists such as Cate Le Bon and Holly Herndon will be up there. Le Bon’s album, Reward, is a masterful work that is hard to put into words, such is the quality on display. Herndon’s PROTO has been turning critical eyes and is a record you definitely need to own! I have been mentioning top albums from women but, adding to terrific singles from Sampa the Great and Sleater-Kinney, one must acknowledge Róisín Murphy and FKA twigs. Murphy has put out a few singles this year I think but her latest, Incapable, is one of her very best offerings ever. I love the way Murphy goes about her business and how nuanced her music is. You listen to Incapable and it is so different to anything else out there! The same is true of FKA twigs’ Cellophane. Lizzo’s hotly-desired album, Cuz I Love You, is definitely one of 2019’s biggest and most alluring reveals. It is packed with stunning songs and the sort of physicality only Lizzo can provide! Vulture, in this positive review, gave their take:

“Lizzo resists labels, both creatively and quite literally in the second verse of the food/sex rap workout “Better in Color.” You don’t have to try to figure out how to file her music, her gender, or her sexuality. You just have to watch her work. Cuz I Love You is a playground for a phenomenal talent reaching the peak of its powers.

Lizzo whoops and chortles through these beats with unnatural ease. Keeping up is like beating back the wind, like Jon Snow getting whipped through stony Winterfell peaks trying to ride a dragon. Gucci Mane can barely keep up on “Exactly How I Feel.” Lizzo is a joy, and Cuz I Love You is an impressive portfolio, showcasing the chops of a singer who nails all the notes, a rapper with alchemical control over words, and a songwriter holding nothing back. She can make lounging around in underwear sound revelatory. She can make masturbation seem like a political act. If you’re having a rough week watching the rule of law crumble, let Cuz I Love You rebuild your mettle”.

I might have missed some notable names out of this feature but, as you can imagine, it is impossible to include everyone! The fact I have to make that disclaimer is down to the sheer volume of wonderful female artists who have provided 2019 with something truly great. I have not even scratched the surface and there is one realisation that comes to mind: the fact that it is only June! Who knows what will come before the end of the year and who will be making headlines. I do think the trend of women soundtracking 2019 will continue and, with Lana Del Rey preparing to release Norman Fucking Rockwell very soon, there is plenty to get excited about. Del Rey is teasing new material and I think she will challenge the movers and shakers when the year-end album years arrive.

IN THIS PHOTO: Lana Del Rey/PHOTO CREDIT: Getty Images

I have missed some female artists out when it comes to the best songs of the year so far - and there are articles that highlight the hottest tracks you need to investigate. Rozi Plain is an artist that comes to mind; so too does a current BBC Radio 6 Music favourite, Mattiel. There is this huge world of music from women that is, I think, broader and more exciting than anything else around. Whether you prefer the Pop of Taylor Swift or the magic of Hatchie, there is something for everyone! In fact, I have only really talked about those in the mainstream or close to it: in the underground, there are so many great solo artists, female-led bands and duos doing incredible things. I am not dismissing the men of music but, as I stated earlier, there is this sexism that threatens to linger for a while yet. I do feel there is a general belief that, as the festivals are still dominated by men, that is a reflection of quality – in other words, the men are stronger and more worthy. That has never been the case and it is especially untrue right now. From daring and brilliant young artists like Billie Eilish to great British Hip-Hop stars like Little Simz, 2019 has been an extremely rich and promising year, thanks in a very large part because of the women (of music). Caroline Polachek has a new single out, Door, which is one of the most intriguing songs of the year.

I have omitted (rather rudely, mind) to mention another of the strongest female artists in the world: the always-wonderful Kate Tempest. Her latest album, The Book of Traps and Lessons, is surely in the top-five best albums of this year so far – it is definitely in my top-five! Tempest is a polymath and all-round genius who deserves all the respect in the world. The Book of Traps and Lessons has been gathering massive love. This review from The Guardian is a typical example:

“Super-producer Rick Rubin brings a new restraint to Tempest. From the beginning of the record, the music is peeled away like orange skin, leaving a spine-chilling a capella at its centre. All Humans Too Late features Tempest’s voice alone, her stark vocal mirroring her poetic theme of isolation; humans separating themselves, not saying hello on the train platform, yelling at each other on the internet. She reckons with the crisis that humanity as a whole is facing right now (“We’re dead – all of me knows it”), reels at the magnitude of it, expresses wonder that we’re not grieving this emergency.

By the following track, Hold Your Own, simple synth chords bolster Tempest as she leans forward into a shaft of light, a new sense of optimism. Her manifesto demands that the listener stop chasing capitalist fantasies – “this whole thing thrives on us feeling incomplete” – and look for the warmth in each other instead. This energy builds towards Firesmoke, a campfire love song that reduces the rest of the world to “ripples in the middle distance” in comparison to the sight of a lover, dancing. “There is something in this tenderness that makes me want to live.” This record is a living poem that captures the angry tension of being alive in 2019: trying not to look directly at the oncoming crises, trying to love and give and dance in the midst of firesmoke”.

I expect this to continue and, as intimated, who knows what more is to come in terms of red-hot singles, albums and E.P.s! We are only (just over) half way through 2019 but, as the best and brightest releases have proven, women are very much…

IN THIS PHOTO: Billie Eilish/PHOTO CREDIT: Getty Images

AT the forefront.

FEATURE: Dreams and Rumours: Will Fleetwood Mac Ever Play Glastonbury?

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Dreams and Rumours

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IN THIS PHOTO: The ‘new look’ Fleetwood Mac (including Mike Campbell (far left) and Neil Finn (third from the left)/PHOTO CREDIT: Getty Images 

Will Fleetwood Mac Ever Play Glastonbury?

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THIS year had lots of speculated acts…

 PHOTO CREDIT: Getty Images

primed to play Glastonbury. To be fair, The Cure were odds-on favourites to get a headline slot and they have one. It is an understandable booking as they have a big fanbase and there are many who want to see them perform. I am a bit surprised the likes of Fleetwood Mac missed out because, again, they were favourites with the bookies. Next year is the fiftieth anniversary of Glastonbury and there will be some huge acts planned, that is for sure. In terms of headliners, one feels the organisers will omit newer acts and go for legends. One feels having the very biggest and best on the bill is the only fitting tribute to such a great festival. Fleetwood Mac have always been circulating and hovering near the top of the pile regarding the ‘must-book’ acts. I am not sure why they have not been invited but, in the past couple of days, there are indications Fleetwood Mac might yet rock Glastonbury. Fleetwood Mac are touring at the moment and, with Lindsey Buckingham out and Mike Campbell and Neil Finn in, the band are still having loads of fun. This review from The Independent shows the band have no intention of slowing down:

“It’s unbelievable that we’re all still doing this,” announces Mick Fleetwood from behind his vast drum set onstage at Wembley Stadium. The “all” isn’t quite accurate – for one thing, guitarist Lindsey Buckingham was unceremoniously ousted from the band last year, reportedly after smirking at Stevie Nicks – but he has a point nonetheless. Fleetwood Mac have come to the brink of self-destruction more times than there are people in this enormous stadium.

Fifty-one years after the band first formed (though Mick Fleetwood and John McVie are the only founding members remaining), this is “the 61st show of a long trip we’ve been on since September”, announces Stevie Nicks. She says so with just a hint of weariness – the energy, at first, is a little fatigued, the first few songs sung seemingly by rote. But things take a turn by the time “Second Hand News” comes around, taken from their seminal 1977 album Rumours, which was recorded when the band were tied up in romantic knots and barely speaking to each other. Nicks, an occult leader all in black, suddenly clicks into gear, air drumming along to Fleetwood’s hugely impressive percussion”.

I am a huge fan of Fleetwood Mac and it is great that they are still together. Even though Buckingham is not in the fold anymore, the rest of the ‘original’ band – Mick Fleetwood, Stevie Nicks; John and Christine McVie – are bonded and they seem as strong as ever. It is testament to the strength and connection they have (that) the music keeps flowing and they can still pack venues. So, then…does this mean that Glastonbury is on their to-do list? There have been mutterings and rumours for years and, whilst they have not yet played the iconic festival, there is every chance 2020 might be their year. NME, in this article, explains how the band are dropping some pretty big hints:

“The rock icons dropped hints during their huge show at London’s Wembley Stadium last night, with drummer Mick Fleetwood offering some not-so-subtle clues.
According to fans in attendance at the show, Fleetwood told the crowd that the band still “had a big field to play”. Other Twitter accounts added that Fleetwood made reference to “a rained out festival in England next year”.

IN THIS PHOTO: Stevie Nicks/PHOTO CREDIT: Getty Images

While any performance from the band is yet to be confirmed, it would see them taking top billing at the festival’s 50th anniversary – with previous reports claiming that Paul McCartney could headline the iconic festival too.
Fleetwood Mac, meanwhile, recently admitted that they would “burn in hell” if they didn’t get the chance to headline Glastonbury.

“Of course, we’ve been asked to play and it’s never worked out,” Mick Fleetwood told The Independent.

I think the legend of Glastonbury and Fleetwood Mac will come true. “I think I’ll burn in hell if we don’t do it one day”.

There are some huge names that I would love to see at Glastonbury that would make for biblical headliners. There were also rumours Paul McCartney was headlining this year so, in 2020, will we see both Fleetwood Mac AND Paul McCartney?! That would be an unbeatable combo but, with a band like Fleetwood Mac, you never quite know what you’re going to get! There are scores of articles online that suggest that, yes, Fleetwood Mac are set to play Glastonbury 2020. This is speculation right now but I see no reason why it couldn’t happen. To start with, the band are touring extensively and there is a solid connection in the ranks. If you had to list the artists that would create a perfect Glastonbury headline set, surely Fleetwood Mac would be near the very top?! Of course, this is all a year away so things can change.

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 IN THIS PHOTO: Lindsey Buckingham/PHOTO CREDIT: Winslow Townson/Invision/AP/REX/Shutterstock

There is this question around Glastonbury with Lindsey Buckingham and one without. There are many who feel a Buckingham-less Fleetwood Mac is strange and wrong – considering many of their best-know hits were written by him and from his perspective (can one realistically swallow Go Your Own Way sung by anyone else…or not at all?!). It does seem like bridges have been burned and there is no way back. This article, from early in the year, explains in more depth:

 “In an exclusive interview with MOJO magazine, Christine McVie has now said there was “no way” Fleetwood Mac could continue with Buckingham still in the band.

Speaking before Buckingham underwent emergency open heart surgery in February, McVie said of his departure: “It was the only route we could take, because there was just too much animosity between certain members of the band at that point, and there was just no way it could’ve gone on as a five piece, a group with Lindsey in the band. So, it was either just completely break up the band, or try and make the best of it.”

McVie, who released the ‘Lindsey Buckingham Christine McVie’ collaborative album in 2017, added: “It was a really bad time. I had really no bones to pick with Lindsey, I loved working with him, but I did see the point, and I did see what the problem was.

“And you know, we’re a democracy, and we had to kind of make the best of a bad job, really. As it turns out, what we have now is better than what we ever had before, I believe.”

Mick Fleetwood commented to MOJO: “We were not happy and I can use the ‘we’ word. It is no secret that Lindsey and Stevie are in a continuum Liz Taylor/Richard Burton type of life, and it went in and out of valleys and mountaintops and God knows what through the years – and that support really could not be given to ask the situation to continue. It was too challenging.”

Refusing to call Buckingham’s exit a ‘firing’, Fleetwood added: “The truth is, call it what you want, a ‘parting of company’ took place, and it had to take place, and it was supported by the remaining band members around something that for sure was a major problem to two people – which was Lindsey and Stevie”.

I, myself, think that Fleetwood Mac should include Buckingham but it seems like that possibility is slim. Although this might be Fleetwood Mac hyping things up and creating a bit of buzz, I do feel like Michael and Emily Eavis have to consider them for next year! Next year will be a perfect time because the band have their new line-up and you wouldn’t bet again them having an album out by that time, too. Maybe it is a dream that will never be realised or rumours (I shall dispense with the song-based puns!) but, with excitement building the press salivating, 2020 has to be the year…

FLEETWOOD Mac play Glastonbury!

FEATURE: Vinyl Corner: Lana Del Rey - Honeymoon

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Vinyl Corner

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ALL PHOTOS/IMAGES: Getty Images

Lana Del Rey - Honeymoon

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THERE are many different reasons why I recommend…

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certain albums for inclusion into Vinyl Corner. In the case of Lana Del Rey, she is making news at the moment because her upcoming album, Norman Fucking Rockwell, is starting to shape up. There are snippets and teases out and, typical of the modern promotional cycle, you never really get anything fully-formed right away: one must wait for weeks and months before the actual album arrives! In any case, there is an album on its way and it is always exciting. I like Lana Del Rey because she has this very mature altitude and is someone that inspires. Her previous albums have gained critical acclaim and I love the smokiness of her voice. She is almost like a 1950s heroine or classic singer; someone who sounds like they are crushing down the French Riviera but, with a bit more of a sassy outlook. In lyrical terms, Del Rey is much more compelling than a lot of her peers. She talks about love and the ups-and-downs of heartache is a refreshingly honest and unfiltered way – yet she can throw in poetic images and incredible images when you least expect. I am not sure what we will get from Norman Fucking Rockwell but, as we have seen from her previous albums, it will be a mixture of sensual and cinematic. Released in 2015, I think Honeymoon is an album that does not quite get the credit it deserves.

The fourth studio album from the American artist, Honeymoon was produced by Del Rey alongside Rick Nowels and Kieron Menzies. Unlike her more guitar-driven album, Ultraviolence, the tempo and sound on Honeymoon is more dreamy and Pop-based – similar to what she provided on Born to Die (2012) and Paradise (E.P., 2012). Maybe there was a sense Ultraviolence was a move too far or it was not quite the album she imagined; perhaps, as Del Rey is prone to do, she just likes to keep it fresh and change it up between albums. Although there is quite a luxuriant and Baroque sound to Honeymoon, lyrics take ion themes of torment and heartbreak; lust, wanting to escape and feel alive – pretty much what we came to expect from Lana Del Rey! The period before Honeymoon seems to have been rather productive and fruitful. I have seen interviews Del Rey has conducted and her creative process is a lot different to other people. She is compelling to listen to and, in her interviews, she is as revealing and striking as her music. One reason why Honeymoon is perfect for vinyl investigation is because it transports you somewhere else. The front cover – a 1950s-looking Del Rey looking set to hit the road – grabs you but the music has that epic and cinematic flourish that reminds you of film scores and stunning vistas. The sonic blends are terrific, too. In terms of general, Del Rey experiments with Trap, Blues; Pop, Jazz and Soul. There are elegant, snaking guitar liners, hushed vocals and songs that are easily memorable yet deeply personal.

Throw in some sliced-up samples and beautiful soundscapes, Honeymoon is a pleasure for the senses. The slightly shinier and glossier production was very different to Ultraviolence’s gritty and darker hues but, as I explain, Del Rey is always moving and pushing herself. Honeymoon, to me, is a more accessible work and one that reaps rewards time and time again. Some claim Del Rey’s voice is quite detached and uninvolved with the subject matter; as though she is not interacting with her lyrics and showing necessary emotional awareness. In fact, that smokiness and dreaminess is pretty effecting and striking. She can go from resonant to hazy; switching between the potent heroine to someone who is more laid-back and observant. The themes and stories tackled through Honeymoon are a far cry from the rather commercial and conventional subjects addressed by many of Del Rey’s peers – samey interpretations of love and destruction; a rather unchallenging and straight take on something quite complex and interesting. Lana Del Rey approaches her words with the same director’s eye she gives to the music. There are visions of bad lovers and domestic abuse; a yearning to get to the sea and dark nights of the soul. One can close their eyes and let the strange and intoxicating world of Del Rey waft into the mind. The Trap and Hip-Hop elements give Honeymoon requisite kick and physicality whilst luxuriant strings and elements give us grace and nostalgic kiss. Whether she is discussing teenagers staying out all night or digging into the recesses of her soul, Lana Del Rey is always compelling and original.

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Songs, as many reviewers have noted, seem to be in slow-motion: like time is stopping and the heroine is trying to take it all in; a sort of druggy haze or dream-like state. There are some who are never likely to gravitate towards Del Rey but, for the most part, her work finds critics hungry and accepting. Honeymoon was well-received and got a lot of effusive nod. The Guardian, in this review, gave their thoughts:

“The fruition of Honeymoon smacks of strict creative control: there was minimal press – one notable interview with friend/superfan James Franco – the album’s public playback took place at Urban Outfitters, and the production team was confined to Del Rey herself, long-time engineer Kieron Menzies and Ultraviolence/Born to Die producer Rick Nowels. The resulting album is naturally self-indulgent, but her most sophisticated and refined yet. Her score-like songs are self-sabotagingly slow, striving for Rat-Pack romance and often succeeding. Familiar themes feature: Hollywood legends haunt Terrence Loves You while morality troubles God Knows I Tried (“I’ve got nothing much to live for / Ever since I found my fame”), and she still fraternises with dodgy men, but instead of bonking bikers against pinball machines, she’s now skulking around with the mafia. With a little chopped-and-screwed modernity, hints of jazz and Morricone-like soundscapes, there’s a timelessness to Honeymoon, and an intrigue that should linger longer than her previous LPs”.

AllMusic, in their review took a slightly different approach:

“Apart from the syncopated chorus on "High on the Beach," any lingering element of the hip-hop affectations of Born to Die have been banished and so have the shade and light Dan Auerbach brought to Ultraviolence, a record that feels cinematic in comparison to Honeymoon. What's left behind is the essence of Lana Del Rey: iconic images of days of Los Angeles passed, all plasticized and stylized, functioning as lighthouses in stoned, sad daydreams. Mood reigns over all on Honeymoon -- melodies and tempos certainly aren't prioritized over feel; all the originals are purposefully languid, which is partially why the Nancy Sinatrasample on "Terrence Loves You" and "Don't Let Me Be Misunderstood," a cover allegedly in the vein of Nina Simone's original but bearing an organ out of the Animals, stick -- but underneath the dragging beats and austere arrangements, there's something approaching triumph. Where Lana Del Rey seemed weighted down by existential sorrow on her first two albums, Honeymoon seems comfortingly melancholic and that's the truest sign that it is the fullest execution of Lana Del Rey's grand plan yet”.

FADER raised some interesting points when they reviewed Honeymoon:

“This album is Lana Del Rey at the most self-aware and self-realized she’s ever been, but it will leave you as bemused as ever as to who she really is. Honeymoon literally opens with Del Rey singing we both know it’s not fashionable to love me, a strikingly incisive line from the mouth of a retro pop star. But this is Lana Del Rey speaking, and so even at her most self-realized, she’s non-committal and impenetrable; one second she’s throwing herself on the ground to worship your never-ending love, and the next she’s watching boys skate by over the top of her cat-eye sunglasses…

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In the throes of the devil-may-care Honeymoon, it makes sense that Del Rey would be vague when asked if she stands for feminism, because this Del Rey is the queen of nihilist pop. She stands for absolutely nothing.

On the cover of Honeymoon, Del Rey sets you up to expect her coolest, most distant embodiment of this persona yet. She looks down on the world from above, hidden behind hat and shades, sharply removed from the portraits that covered her first two records. But the new vantage point she occupies on this album—everything looks better from above, she sings over the breezy march of “Salvatore”—feels, in some ways, more intimate than ever. She breaks away from having—as Eliot writes in “Burnt Norton, ”the poem Del Rey quotes on the album—the look of flowers that are looked at. Instead, she becomes the looker: for the most obvious example, there’s the female gaze pop song “Music To Watch Boys To.” With a multi-tracked vocal the reflects a split personality, she says in one breath I like you a lot, while admitting in the next, more distorted line to putting on my music while I’m watching the boys. Even more unnervingly, she then warns you she’s been sent to destroy. Rather than presenting a straightforward image of a submissive woman in desperate love, as she’s been accused of doing in the past, she adds the crackling undercurrent of her own desire and power. After playing the victim for a lot of Ultraviolence, suddenly she’s dangerous”

The ethereal and beautiful Honeymoon is a great work and one that is as destined for the hipsters and dreamers as it is the romantics and the daring. It blends it sounds wonderfully and there is so much to enjoy. From a compositional viewpoint, Del Rey integrates so many different sounds without overcrowding songs or merely chucking everything into the blender – she has a great ear and eye for what works and what a sort requires.

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Lana Del Rey gave a few interviews when Honeymoon was released/just after and she was asked about her love life and inspirations. When she spoke with Billboard she was candid regarding heartbreak and her ambitions:

“When was the last time you got trashed by a love affair?

The last one -- before the boyfriend I’m with now -- was pretty bad. It wasn’t good to be in it, but it wasn’t good to be out of it, either. He was like a twin. Not a facsimile twin, but a real twin.

So maybe finding the same person doesn’t work. Are relationships hard for you?

For someone like me -- and it’s not a codependent thing -- I just like having someone there. I’ve been alone, and that’s fine. But I like to come home and have someone there. You know, to say, “Oh, he’s here. And this other thing (Mimes a table.) is there. And this (Mimes setting down an object on the table.) is there. (Laughs.) I’m very methodical. I have to be. I’m like that in the studio too. Mixing and mastering can take four more months after we’re done -- three to mix and one to master. I like having a plan. Though I do leave spaces for ad-libbing in the studio when I write.

Do you want to be in the movies?

Well... I’m open to it all. James Franco asked me to be in three films that were going to be directed by a Spanish director, and I was hesitant. I think he heard my hesitance and got scared. Someone wanted me to be Sharon Tate. I thought, “That’s so right.” At that time, there were three Manson movies being talked about, but none were ever made. So maybe that was the answer”.

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Lana Del Rey would follow Honeymoon with 2017’s Lust for Life. Aside from the slightly disappointing title – one will always associate Iggy Pop with that album title – it was another bold and brilliant work that was so different to what was plaguing the charts that year. That is a key in Del Rey’s arsenal: the fact she is so much more interesting, pioneering and inventive than her peers. I think everyone should grab a copy of Honeymoon on vinyl as it is a great record and perfect for the format. You can put it on, lie down and just let the music carry you off. The album also warrants greater listening; nuanced and interesting as it is, you will find yourself coming back and picking up on new things. I am looking forward to Norman Fucking Rockwell because it sounds like it will be a blend of the harder-edged Ultraviolence and what we witnessed on Honeymoon. Norman Rockwell was a popular American author and painter who produced these brilliant cover illustrations that depicted everyday American life. I think Del Rey will blend her representations of American life with a bit of a sharp tongue – the fact that, with Donald Trump as President, the view of modern America lacks any romance and hope. Lana Del Rey always keeps people guessing and there is (rightly) a lot of interesting surrounding her forthcoming album. I think, with so much banal chart music around, we need her pretty quickly to wash away that sound and replace it with her sense of wonder and beauty. I am excited to see what comes next but, in the meantime, get a copy of Honeymoon on vinyl and…

CHERISH every note.