FEATURE: 20/20 Visionary: Michel Gondry at Sixty: His Greatest Music Videos

FEATURE:

 

 

20/20 Visionary

PHOTO CREDIT: Autumn de Wilde

 

Michel Gondry at Sixty: His Greatest Music Videos

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ON 8th May…

 IN THIS PHOTO: Björk/PHOTO CREDIT: Dave Tonge/Getty Images

one of the most innovative directors ever turns sixty. You may not necessarily know Michel Gondry by name alone, but you will definitely have seen his music videos and films. Directing films like Eternal Sunshine of the Spotlight Mind, and directing videos for the likes pf Kylie Minogue, The White Stripes, Daft Punk, and Björk, he has an imagination and style that is mind-blowing! I wanted to celebrate his approaching sixtieth birthday by featuring the twenty best music videos he directed. It is hard whittling it down, but hopefully the list is not too contentious! Apologies if any of the videos are not great quality image/pixels-wise, as I am grabbing them from YouTube - and you have to rely sometimes on fans posting the videos or some low-quality transfer. In any case, I will come to that. I want to finish this part with some biography from IMDB:

“He grew up in Versailles with a family who was very influenced by pop music. When he was young, Gondry wanted to be a painter or an inventor. In the 80s he entered in an art school in Paris where he could develop his graphic skills and where he also met friends with whom he created a pop-rock band called Oui-Oui. The band released 2 albums ('Chacun tout le monde' and 'Formidable') and several singles until their separation in 1992. Gondry was the drummer of the band and also directed their video clips in which it was possible to see his strange world, influenced by the 60s and by his childhood. One of his videos was shown on MTV and when Björk saw it, she asked him to make her first solo video for 'Human Behaviour'. The partnership is famous: Gondry directed five other Björk's videos, benefiting by the huge budgets. This led to commissions for other artists around the world, including Massive Attack. He also made a lot of commercials for Gap, Smirnoff, Air France, Nike, Coca Cola, Adidas, Polaroid and Levi - the latter making him the most highly-awarded director for a one-off commercial.

Hollywood became interested in Gondry's success and he directed his first feature movie Human Nature (2001), adapting a Charlie Kaufman's scenario, which was shown in the 2001 Cannes Festival. Although it wasn't a big success, this film allowed him to direct Eternal Sunshine of the Spotless Mind (2004), for which he again collaborated with Charlie Kaufman. The movie became a popular independent film and he and his co-writers won an Oscar for it”.

A truly brilliant director who I hope we see a lot more from, you can see the sheer number and variety of videos he has been responsible for. I know he is less prolific now than near the start of his career, but he is still producing amazing work. A genius with a mind like no other, I hope others celebrate the sixtieth birthday of a pioneer. This is a man who has been responsible for some of the most memorable, striking, unusual, beautiful, mind-bending and…

STUNNING music videos ever.

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Oui Oui -Un Joyeux Noël (1988)

Donald Fagen - Snowbound (1993)

Björk  - Human Behaviour (1993)

Lucas  - Lucas with the Lid Off  (1994)

Sinéad O'Connor  - Fire on Babylon (1994)

Cibo Matto - Sugar Water (1996)

Neneh Cherry - Feel It (1997)

Daft Punk - Around the World (1997)

Sheryl Crow - A Change Would Do You Good (1997)

Foo Fighters - Everlong (1997)

Björk  - Bachelorette (1997)

The Chemical Brothers - Let Forever Be (1999)

Radiohead - Knives Out (2001)

The Chemical Brothers - Star Guitar (2002)

The White Stripes - Fell in Love with a Girl (2002)

Kylie Minogue - Come into My World (2002)

The White Stripes - The Hardest Button to Button (2003)

The Vines - Ride (2004)

Beck  - Cellphone's Dead (2006)

Paul McCartney - Dance Tonight (2007)

FEATURE: Are 'Friends' Esoteric? Be Here Now: Can We Connect the Rise of Coffee Culture and a Decline in Physical Music Sales?

FEATURE:

 

 

Are ‘Friends’ Esoteric?

PHOTO CREDIT: Benjamin Suter/Pexels

 

Be Here Now: Can We Connect the Rise of Coffee Culture and a Decline in Physical Music Sales?

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I was going to leave…

 IN THIS PHOTO: Noel Gallagher/PHOTO CREDIT: Matt Crockett/Press

a somewhat ridiculous comment from Noel Gallagher and leave it at social media mockery and general exhaustion. His comments do raise to mind some interesting questions. First, as reported here by NME, Noel Gallagher feels that the boom in coffee shops and the seemingly bad example U.S. sitcom Friends set has led to a decline in people buying physical music:

“Noel Gallagher has said he thinks the sitcom Friends and coffee culture are to blame for declining music sales.

The former Oasis guitarist and songwriter discussed how changes in people’s spending habits has affected how they support artists, particularly when streaming services have given them access to all the music they could possibly want for free. Indeed, he said that he struggled to understand how people will spend their money in coffee shops – the growth of which he put down to the characters in Friends frequently socialising in one – but not music.

According to the Daily Star, Gallagher said: “Sitting around in sweaters drinking overpriced coffee and talking about nonsense.

“Since the rise of the coffee shop, culture has disappeared. People are horrified that they have to pay for music! But $20 for two coffees, oh, absolutely. I haven’t got the brain capacity to process this.”

IN THIS PHOTO: The main cast of Friends (Courteney Cox as Monica Geller, Matthew Perry as Chandler Bing, Jennifer Aniston as Rachel Green, David Schwimmer as Ross Geller, Lisa Kudrow as Phoebe Buffay, and Matt LeBlanc as Joey Tribbiani)/PHOTO CREDIT: NBC

It’s not the first time that Gallagher has pointed the finger at coffee culture either. He told  NPR: ““I blame Friends [for] the rise of the coffee shop. Since the rise of the coffee shop, culture has disappeared, don’t you think? People are horrified that they have to pay for music. Music! But $20 for two coffees, ‘Oh, absolutely’.

“I feel like the resistance to pay for music came after people got used to that. Maybe it’s that they got used to spending a lot on commodities that feel like culture – like coffee – and then changed their financial priorities. Or maybe it’s that, all of a sudden, music was free.”

Gallagher is currently gearing up to release a new album, ‘Council Skies’, with the High Flying Birds. Set to drop on June 2, it features the singles ‘Council Skies’,  ‘Dead To The World’, ‘Easy Now’ and ‘Pretty Boy’.

Yesterday, Gallagher confirmed that there will be a reissue of Oasis’ ‘Definitely Maybe’ album coming in 2024, though once again shut down the idea of there being a reunion tour taking place any time soon”.

Maybe this is a musician who was once on top of the world not selling as many albums as he should. Having written two genius Oasis in the form of 1994’s Definitely Maybe and 1995’s (What's the Story) Morning Glory?, he is used to seeing people buy huge amounts of physical music. His modern music as part of Noel Gallagher’s High Flying Birds is popular, but the units being shifted is not the same as it is. Reports are showing that vinyl sales are climbing:

“In 2007 there were less than 200,000 vinyl units sold in the UK and now we're over 5.5 million, so you can definitely see that massive turnaround since Record Store Day began,” said Megan Page, RSD coordinator at the Entertainment Retailers Association (ERA).

Page said the event has played a key role in vinyl’s fortunes, an opportunity seized by labels.

“Record shops coming together and asking for these exclusives, celebrating the art of vinyl, was the catalyst for people to take more notice of [vinyl] and take it a bit more seriously,” said Page.

Vinyl album sales reached 5.5 million units during 2022, the 15th consecutive year of growth for the format, according to Official Charts Company data.

For the first snapshot of 2023, Music Week can reveal that vinyl LP sales increased by 14.7% year-on-year in Q1 to 1,322,977 units. That compares to year-on-year growth of 6.7% in Q1 2022.

Issues with production capacity for vinyl have actually restricted growth for the format, although that situation has improved.

“That's what we're hearing, that the pressure’s easing off a bit, so that's really helped with demand and getting things landing on time,” said Page”.

 PHOTO CREDIT: cottonbro studio/Pexels

Alongside rising vinyl sales, cassettes are making a comeback. An almost obsolete physical format, a new rise in sales has provided much cheer. NME provides some fascinating and encouraging news regarding cassettes. It seems that a desire to own physical music post-pandemic has led to a rise:

“As Radio X reports, the British Phonographic Industry (BPI) found that the popularity of the format had increased for 10 consecutive years. The sales of cassettes, however, remain much lower than those of vinyl records.

The total number of cassette tape sales has risen from 3,823 in 2012 to more than 195,000 in 2022.

It is said that the spike has been driven by recent releases from major acts such as Arctic Monkeys, Harry Styles and Florence + the Machine.

Per the BPI, all 20 of last year’s biggest-selling cassettes were released in 2022.

Mark Burgess, Founder of Flashback Records in north London, told Sky News that cassette sales had “shot up” at his shop post-pandemic.

He said the old-school format appealed to younger music fans in particular due to its “collectability”.

“Because cassettes are a smaller format, it’s easier to set up a collection,” he explained. “Also, people like to have an album of music that’s sequenced in the way an artist originally intended it to”.

Even though vinyl sales are overtaking C.D.s, that is not to say that the format is dying! There is no doubting the fact that physical music is in good health. Maybe Noel Gallagher was reacting to C.D.s struggling. Maybe we are not seeing the same sales as we had in the '90s with people queuing around the blocks regularly, but one cannot reasonably say that physical music is declining. Also, what sort of impact does coffee culture have?! It does seem weird that Gallagher mentioned Friends (could he BE any more old-fashioned?!). That series ended over twenty years ago, but I think it did encourage more people to go to coffee houses. Even in the '90s when that boom was happening, people were still buying physical music. Even if they forked out a few dollars for a coffee, they would still spend a few times that (or more) for an album! The same is true in the U.K. I was keen on visiting cafés, but I also made sure that I had enough money for singles and albums. The fact that coffee shops are springing up has nothing to do with Friends, Fraiser or any other American influence that you can name! Those series’ ended a long time ago. There are far more complicated reasons why coffee shops have become more prevalent and people are buying less physical music compared to decades past. Less disposable income is one reason. Costs in general have got steeper and more severe for the average Joe (or Joe-drinker!). Even if Noel Gallagher is having an old man tantrum or ranting like he normally does, there are a couple of takeaways…

 IMAGE CREDIT: macrovector via Freepik

It is evident that coffee culture has had some influence when it comes to our spending and socialising. One can say that cigarettes and alcohol (see what I did there?!) costs more money and leave less for music, but we are becoming more of a coffee-drinking nation. It can be an expensive habit, but very few people are staying and drinking rather than going out. If Friends’ Central Perk featured its main characters drinking and socialising seemingly all day, you see less of that now. Music was never a part of Central Perk, but you do hear it in coffee shops now. I have said how more upcoming artists should be on the playlists of chain and independent coffee shops. Not only would it compel people to buy their albums. It would also mean that more people would stay in and linger. I also feel physical music is too expensive. Certainty vinyl is very high in price; people cannot really play cassettes. Rather than coffee culture leading to physical music being less demanded, maybe we need to look at the ease and low cost of streaming versus the affordability of physical music. Most people only buy one coffee a day at the most, and that can add up – but it is not a huge expense. If you buy one album on vinyl, you could be talking £25-£30. That could be as much as ten weeks’ worth of coffee! As we see from figures, physical music is holding strong. It could grow even more fruitfully if we lower the cost of physical formats, make it easier to play cassettes and C.D.s, and combine that with an overhaul of streaming sites so that artists get paid more and are less reliant on physical music to earn money. It would also be nice to see more people staying in coffee shops and mixing that with music listening!

 IMAGE CREDIT: Freepik

Maybe designing coffee shops that also sell music. Easier to talk and feel relaxed than at a crowded pub, you could have something that satisfies a need for caffeine, but it also means people listen to and buy physical music – which would make Noel Gallagher very pleased. You could (as I did) wonder what he is on about and whether he is pining for a time that doesn’t exist. If you take out the inanity and random Friends name-drop as being in any way responsible for us drinking more coffee (which it is not) and physical music struggling (which it isn’t), there are a few points that make sense and raises issues. Are we buying more coffee over music because of prices, or that music listening is less sociable than it once was? Are there realistic ways of lower the cost of physical music so that people buy more? Is the rise in vinyl and cassettes a sign of things to come? Are we buying coffee to take it away - and, if not, would music and the ability to buy music make us stay longer and, in the process, tie together café culture and music appreciation? These are all questions that are worth raising, and none are easy to answer. Rather than simply dismiss the once-astonishing Noel Gallagher as the Grandpa Simpson of the musical world, you can look at this latest bit of what-the-f*ckery as a time to address spending habits, culture in general, and the ongoing importance of keeping physical music alive and bought. If physical music sales are not at their record highs all of the time, they are at least moving in the right direction – and they are staying there too. Fear not, Noel Gallagher, for physical music will live forever. People are also going to buy a lot of coffee. That, my dear friend, means you are going to have to…

ROLL with it.

TRACK REVIEW: Sarah Close – A Little Bit in Love

TRACK REVIEW:

PHOTO CREDIT: Solar Klinghofer


Sarah Close – A Little Bit in Love

 

 

9.5/10

 

 

A Little Bit in Love is available here:

https://open.spotify.com/album/6p43OI1omeOD1GXdiBSzOI?si=Ln0HMW_BS9Own5GH7Flj6g

RELEASE DATE:

28th April, 2023

WRITTEN AND PRODUCED BY:

Sarah Close

LABEL:

The Kokiad Club Ltd

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I am trying to recall…

 PHOTO CREDIT: Dery

the first time I encountered the music of Sarah Close. It may have been around 2018. I was instantly struck and in awe of her! One of the reasons why I was so compelled by Close’s music was because it was accessible. Someone who always wrote and sung from the heart, you felt like you were listening to someone you knew. Maybe I could not exactly relate to what she was going through in many songs, but the honesty and power of her music, coupled to the way her lyrics and vocals draw you into the song, meant that I was an instant fan! There are a few things that I want to explore before I get to her awesome new song, A Little Bit in Love. Close’s mini-album, And Now, We’re Shining, came out in 2020. That was one of my favourite releases of the year. At a time when the pandemic was making us all scared and separate, this at least brought me closer to an artist that I had long-respected. Originally from the Isle of Wight, Sarah Close is someone who I can see touring quite extensively around the world. I know that she has fans in the U.S. Definitely one of the most distinct voices you will ever hear, go and follow this wonderful artist. Here is some background and biography about the stunning Sarah Close:

“Sarah Close is from the Isle Of Wight. When she was just 14 she started sneaking her mum’s guitar into her bedroom at night and taught herself to play Taylor Swift songs.

From there her love of songwriting began and she wrote song after song after song. At 18 she moved to London to do a songwriting degree before dropping out so that she could spend all her time focusing on her own music.

The first single Sarah released was Call Me Out followed by debut EP Caught Up – EP. She thought she had hit the jackpot when soon after she was offered and subsequently signed a record deal, but within 5 months, the new label head had dropped her.

After a while writing, she independently released a mini album called And Now, We’re Shining. It came out 3 days before the UK went into it’s first national lockdown due to the Covid-19 pandemic. As a result of lockdown, she moved out of London and back to the island.

Sarah has set up a home studio in the room where she first started writing songs and spent the entire year working on new music for herself as well as writing for other artist artists , learning production skills, and landing”.

Before I dive into other subjects – after which I shall get into the review -, I want to bring in a couple of older interviews. We get a sense of where Close came from and how she has progressed. In 2019, GoldenPlec chatted with an artist who started out uploading covers to YouTube, signed to a label, and become independent again. Even though it was tough at times, she came out the other side as this incredible artist whose music was connecting with so many people:

“Close studied songwriting for two years before dropping out, a move which she sticks by as she thinks it was the right decision at the time. "I came to London knowing I wanted to do music but I didn’t know anyone in the city. My parents really encouraged me to enrol in some kind of course so I could have a student loan and have a bit of the student lifestyle and go out and meet friends. So I went on a songwriting course.

Close had it in mind that she wouldn't make it the whole way through the course from the outset, "I kind of made it my goal that I wouldn’t have to make it the whole way through. That I would work hard enough that halfway through my career outside of uni would be so busy that I could have the opportunity to drop out. So I worked really hard, saved money so I could quit uni and be okay.

"by the end of second year it wasn’t really giving me anything any more. I don’t think you can teach music, I think you have to have passion and drive - you can be taught to write a song but unless you’re going to go out and practice, what’s the point? So I was just like, this course isn’t doing anything for me and left."

 That being said, she is still very glad she did the course as it pushed her creatively in directions she might not have gone before, "“Caught Up” for example, I wrote that on the course as a rap song. We were given the brief to write a rap song and I was like… I’m never going to write a rap song, I can’t rap, but then I wrote that song and thought it was so much fun. I think the course made me expand my creative boundaries and find out more about what I like and what I don’t like. But I think you get what you can and when something stops giving you love or teaching you anything you say “okay, you’re not for me any more, goodbye!”"

By this point her online presence had grown dramatically, and the music industry started taking notice, "I started getting interest from labels. So I decided I wanted to make an EP and get that out then I signed my record deal with Parlophone in  2017."

Adjusting to a label life was another learning curve for Close who was unsure of others taking over her previous responsibilities, "I had never had a team before - I had made everything myself. All of sudden there’s a group of people that are like “hey, you need tour posters? We’ll make them!” And it was amazing… but it was also hard for me to not have to do everything because I was so used to it”.

Part of what made her departure from the label easier to take was that she was now in control of what she could release, so what exactly does that entail? "What you see is what you get with me - I’m an idiot on Instagram stories and I post videos with no makeup on and in my pyjamas and I always want to keep things very intimate and not too polished, but I definitely want my music to go in a slightly more intimate manner. I think that my covers online were just my voice and my piano and I really enjoy the songs in my set where it’s just me and the piano, so I would love to strip things down a bit more. But then I really love the big pop songs so it’s kind of finding the space between”.

I have loved everything she has put out. At the moment, there are not a lot of videos on her official YouTube channel (or they are set to private), but there is something about her videos that draw you in and leave an impression on your mind. I will come to that soon. With a growing army of loving and loyal fans around the world, I think we are going to see a lot more gold from an artist who is among my favourites. I am not too sure whether an album is coming this year, but there would definitely be demand from fans. I want to slip back to 2018. This was quite a big year for Sarah Close. The Student Pocket Guide highlighted Close’s 2017 debut E.P., Caught Up – which just turned six in fact! Since then, Close has confirmed herself as one of our brightest artists:

“What are you biggest aspirations in life? (career and lifestyle wise)

I want to play shows around the world, there’s no better feeling than being on stage for me (apart from maybe fresh bed sheets…) and I’d love to be able to make music and keep writing my songs for years to come. I’m super interested in business too, I’d love to develop my record label The Kodiak Club and one day sign and help other artists out, especially any aspiring musicians from where I grew up- the Isle Of Wight. Whilst I love London and this city, I want to end up living back by the sea, and I also want a dog.

Have you always been passionate about music since a young age?

Yes. I recorded my first ‘album’ age 5/6  on a cassette tape of songs ‘I had written’ (I made them up on the spot), but no seriously, my parents always had music playing and are musical themselves and very early on I knew I wanted to pursue singing.

 Any advice for students out there who are considering taking the musical route?

Practice and hone your skill! Go out and start gigging to get your confidence on the mic up and try meet people who are interested or could be helpful, people like aspiring managers or producers etc. I would just try to learn and get everything out from your environment that you can!Sarah Close

So you started your music career with your YouTube channel. What was this time like for you? Do you think it was difficult to move your music from YouTube to other channels such as Spotify/ITunes for your fans?

I think I’m still in the process of trying to move fans from my YouTube to other channels but I think it’s been helpful that I was really honest from the get go about wanting to pursue music with my own songs and not just stay on YouTube making covers, but I definitely get a comment every now and then from someone who wants me to stay doing that. Starting on YouTube was great though, it’s taught me so much about social media and the business behind it, as well as making me get better at my instrument.

Talk us through an average week in the life of Sarah Close…

Every morning I wake up, play piano for half an hour or so and make breakfast before I begin whatever is happening that day. I normally have 3/4 writing sessions a week, and if they’re not at someone else’s studio then I will stay in my flat and write on my piano. I’m very active and I have a lot of energy so I like to do things like rock climbing, swimming, yoga, I’m pretty much up for anything. One day of the week I spend filming or editing a video for my YouTube channel, and then maybe one day I’ll have a photoshoot or some promo things to do.

If there’s anyone you’d want to collaborate with who would it be, and why?

Shawn Mendes, because I love his voice and I think he’s so cute. Amine, I love everything about him and think he would be so fun to work with. Charli XCX, she’s a mega babe and I reckon we’d made something awesome and then finally SZA, who wouldn’t want to work with her?”.

On Thursday, Sarah Close celebrated her birthday. I forgot to wish her a happy birthday - so I hope that this counts! I think that there is this moment when Close can look forward and what comes next. The twenty-eight-year-old Close has so many successful years ahead. With every single, she reveals a new side to her personality and talent. In fact, in a tweet from 26th April, she revealed how she accidentally uploaded a demo to her public SoundCloud! A few people heard it, so I am wondering what it was and what it will lead to. It is clear that Close is in productive and inspired mode at the moment. I get a feeling we may get more new music pretty soon! I will wrap up with a couple of thoughts. I should get to the brilliant A Little Bit in Love. Grabbing the lyrics from Genius, and  A Little Bit in Love has been listed as track seven as SC2* (2023). I am not sure if this is a filing system they have or whether it is another E.P. coming up. I may have missed an announcement, but a new Sarah Close E.P. or album is a very welcomed thing! A gorgeous song written and produced by Close, she says how (it is about) realising that there’s some people who, no matter how much time and space passes, you’ll always still be a little bit in love with them. I wonder what provoked this. Maybe coming back from meeting someone she used to be with, it seems some old feelings were stirred. Whether it was  reignition of desires and affections, or that sense that you never really lose that love for someone that you were with, it is an interesting question. Can you ever walk away from love and completely lose those feelings?! I am not sure whether Close is in a new relationship, but there is clearly someone that has a dear and special place in her heart that has stirred up these feelings.

I love the production and sound of A Little Bit in Love. There is something about it that has this homemade feel. Rather than it being polished, the piano really does stand out. Like you are sat next to Close as she sings! That intimacy and unstripped sound makes everything sound more natural and powerful. The melody and flow of the song gives me the impression of a Burt Bacharach song. A classic love song that is rich with imagery and charm. Rather than this being too sorrowful, accusatory or heartbroken, there is this relatability. I opened by saying how Sarah Close is accessible as an artist. She puts her personal experiences on the page, and so many can identify with what she is saying and writing. A lot of bigger artists seem detached and lack that conviction and reliability, even if they are talking about love and loss. One (of the many) awe-inspiring aspects of Close’s music is her voice. It is almost hard to put into words, but the way she emotes, accentuates and delivers her words. It is almost conversational. Intimate and shy at the same time. She has such a beautiful, beautiful singing voice. There is so much nuance and personality with every word. A Little Bit in Love instantly takes your heart and stops you still. It seems that, whomever the former sweetheart is, it has caused our heroine to think about the good times. The first verse finds her offer caution alongside reminiscence: “I won’t call you up/Won’t ask to hang with you on Saturdays/I won’t write a Christmas card/To your mother at the holidays/But every now and then/I look at photographs of us, babe/And we look so happy/Where did it go wrong?”. Those piano notes are so stirring and integral. Almost like Close’s heartbeat. On a slight tangent, her production and performance reminds me of German composer and artist, Nils Frahm. The way that he plays and records the piano so that it is high in the mix and has this raw and very powerful sound. It would be easy to give A Little Bit in Love too much shine or bury the piano too low, but this is almost like a live performance. It means the song resonates instantly.

Even if Close is speaking of her regrets or questioning why something seemingly perfect went sour, you feel like she is confiding in you. An intimate talk late at night perhaps over a glass of wine. The beauty her voice possess means you come back to the song time and time again – so compelled and seduced by the tenderness. Even if there is calm and this mature acceptance, Close cannot help but wonder why that spark disappeared. Given the fact that she was inspired to write the song because she realised that she was still holding love for someone she is no longer with, did things end too soon?! I am not sure whether the relationship can be recovered and restarted, but that moving on and looking to a fresh relationship is being haunted almost by the sense that everything was clicking and simpatico – until it just ended and that was that. In the chorus, there is a real sense that there are very real and strong feelings for this person: “But it’s so hard to forget you/When a little bit of me is always gonna be/A little bit in love with you”. With yet more strong resemblances to Frahm – in the most beautiful way; I am not sure if Close knows his music even?! -, you feel and hear that piano. A very physical and soulful instrument that Close can use to find reason and express her feelings through, there is this stirring and almost sensual sound from the keys. In the second verse, Close mentions “that Kacey song”. I assume she means Musgraves, but I was wondering which of her songs that was – if I had to have a guess, I would punt at something from her 2021 album, star-crossed (and there is one particular song I listen to and associate with her). It is interesting that the Texan artist comes to mind. In the way Close describes her memories, it is almost like she is driving through America rather than England: “I’m sat there with my feet on the dashboard/Harmonizing/But now I have to skip that song/In case I end up crying/Is this the way it’s always gonna be?”. There are almost Country vibes at the heart of A Little Bit in Love (particularly in the chorus); definitely when it comes to the lyrical style and the narrative.

So many artists would add layers of strings, drums and electronic effects to try and summon up more passion or intensity. Perhaps feeling that these elements represent something akin to the emotions and weather expressed in the song, Close very wisely keeps things simple. It is much more affecting and affective with that piano-and-voice combination. Whist the lyrics are telling the story and sharing memories, the composition is almost like a conversation between her and this former lover – if that does not sound too pretentious! Whilst the reason behind the break-up is never explained – if Close even knows why things did go bad -, there is a fear that important memories will fade: “Will the day come where I forget the face/Of the first ‘I love you’ kiss/And that sweet, dumb innocence”. Close does say things are getting better and that she is moving on but, as things were good and there are still lingering feelings and an attraction, you wonder whether she can truly forget. It is clear that she does not want to let go of something and someone who was such an important part of her life. I did forget to mention that, in the chorus, there is a little bit of vocal layering. Augmenting the emotions and messages, I am reminded of artists like Kacey Musgraves (plus Taylor Swift). If the verses are more naked and stripped, there is something fuller and warmer in the chorus. What I mean is that the verses are emotive and they definitely give you an impression of someone alone in a room and looking out of the window and letting her mind wander The chorus, whilst not celebratory, do seem to have this sense things will get easier and better in time. Another magnificent song from Sarah Close, I once again wonder whether an album will come. I might have jumped the gun or missed a post where she announced it, but A Little Bit in Love seems like a perfect closing track to a future project. Close, on her latest single, shows why she is one of the most gifted and consistent songwriters, singers, musicians, and producers in music. It is clear why her fans love and respect her so much.

As a brief epilogue, I want to sum up my feelings…but I also want to offer up some other thoughts. Sarah Close’s social media channels are great. I hope that she gets a Bandcamp page too. Maybe an easy way to help monetise future work in terms of digital and vinyl/physical releases, she would definitely have a fanbase there. I am not sure whether there is a music video coming for A Little Bit in Love. I hope that there is. I have always felt that Close would make a compelling and hugely talented actor. I am not sure whether scripts have come her way, but she has this combination of the accessible and relatable (very cool but also someone who has effortless charm and some clumsiness) together with something quite otherworldly and classic (in terms of her voice and beauty). This all comes through in her music. She would make a magnetic and hugely popular screen presence. You get a feeling of that when you see her videos, so I do hope that there is one that goes alongside A Little Bit in Love. It may be the case that it will be audio-only at the moment. A song released a day after her birthday, you sense Close is clearing space and a path to a new stage of her career. The song is about looking to the past and remembering this great love, but also moving ahead and maybe taking a chance with a new love. I do feel that, very soon, Close will get gig requests around the world. Such an amazing and hugely warm human, there is no doubt that many nations will fall under her spell. I think America particularly is someone she will be very much at home. I do not know what the rest of the year holds but, as it seems from that SoundCloud slip, there might be more music in the pipeline. That will be exciting! A Little Bit in Love is genuinely one of the best things Sarah Close has released. Heartfelt, open, emotional, and yet uplifted at the same time, I have listen to the song a few times now and it always feels like you are with Close as she is singing. In her, we have…

A magnificent artist that we should cherish.

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Follow Sarah Close

FEATURE: As You Are Me, And We Are All Together… Celebrating and Saluting the Mighty I am the EggPod

FEATURE:

 

 

As You Are Me, And We Are All Together…

IMAGE CREDIT: I am the EggPod/Chris Shaw

 

Celebrating and Saluting the Mighty I am the EggPod

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THIS is not tied to an anniversary…

 IN THIS PHOTO: Broadcaster Matt Everitt has appeared on I am the EggPod sevreal times (in December 2020, he chatted to Chris Shaw about Paul McCartney’s McCartney III)/PHOTO CREDIT: Matt Everitt

but, as this is a podcast that has inspired me, I wanted to focus on the brilliant I am the EggPod. I am not sure whether I have written an entire feature about it before, but there is actually a reason why it should be highlighted now. If you do not know about it, I am the EggPod is run by Chris Shaw. It is a podcast where guests talk about a Beatles or Beatles solo album. It has been running since January 2018 and, in that time, it has grown from this promising and interesting podcast to one that is among the best out there. With his endless passion and expert knowledge, Shaw and guests dissect and discuss these brilliant albums from Beatles members. I don’t think one needs to be a massive Beatles fan to appreciate it. Indeed, you can discover some truly great albums by listening to it. Such is the detail and effort that goes into each podcast, it is a must-hear. Wherever you get your podcasts, do make sure that you tune in. You can follow I am the EggPod on Twitter. If you do like The Beatles and, after hearing I am the EggPod are naturally hooked, there is a live event coming soon. On 1st July, I am the EggPod comes live from London’s palatial Opera Holland Park. There are tickets still available, and I would urge everyone to investigate. Chris Shaw will be speaking with Samira Ahmed, David Quantick, Stuart Maconie, and Mark Lewisohn. The latter is the world’s leading expert in all things The Beatles. It is going to be a spectacular event that I am so looking forward to attending!

Through the coming months, I will highlight some important music podcasts. I am as huge fan of The Beatles, but one can only learn so much from listening and research. There is something about hearing guests with Shaw talking about these albums. You get their personal recollections and insights, but there is this expertise and this real immersive experience. Shaw really knows his stuff…and let us not forget that this is not only Beatles albums. It includes solo Beatles stuff – so anything from the varied and vast catalogues of Ringo Starr, Paul McCartney, John Lennon, and George Harrison. It is a wonderful podcast that you can subscribe to and support. I am dropping a few episodes in this feature, just so you can get a taste of things. I am going to explain why I am the EggPod means a lot to me, and which album I would cover if I ever got a shot to join a pantheon of enormous Beatles fans! The fact that this podcast that has been going for five years has got this huge live event coming up should not be overlooked. In such a splendid venue, so many fans from around the country will come together to hear some truly fascinating chats. I am not sure what form the event will take. It seems like David Quantick, Samira Ahmed and Stuart Maconie will be in the first part/hour. Possible interviews about their love of The Beatles, they might each take an album to discuss. Mark Lewisohn will be in the second part. That will be a deep and fascinating interview!

Through five years of I am the EggPod, we have heard tears, plenty of laughs and some fascinating revelations! Go and binge the episodes, as you will not only stumble upon albums you might not know or have overlooked. You will learn so much about classic Beatles albums you think that you had figured out. It makes me wonder where this amazing podcast will go in the future – but I shall come to that. Like every big fan of I am the EggPod, you imagine which album you’d chose to talk about if Chris Shaw got in touch (or if you badgered him enough to let you on!). For me, it would be Traveling Wilburys Vol. 1. Released in October 1988, this was the debut album from the supergroup that features Roy Orbison, Tom Petty, Jeff Lynne, Bob Dylan, and George Harrison. This is one of my favourite albums ever, and it is my favourite ‘George solo’ album – or a non-Beatles Harrison release! I have such an emotional and deep connection to that album. Every time I play it, I am taken back to my wonderful childhood. I am sure that someone else has bagged this album for a future episode, but I will look forward to hearing what they say when that comes to light. I have discovered so many terrific albums through the podcast. From Ringo Starr solo albums that I did not know existed, to Paul McCartney, Wings, John Lennon/John Lennon/Plastic Ono Band, and George Harrison albums that have gained new importance and light, it has been a wonderful experience!

Of course, it is also thanks to the incredible array of guests that have come on and added their take and voice to these wonderful albums. From Annie Nightingale to Matt Everitt, through to Shaun Keaveny, Samira Ahmed, David Quantick, Dan Rebellato, and Eleanor Gray, it has been a wonderful magical mystery tour. From late legends like Neil Innes, to a new breed of Beatles fans telling Chris Shaw and the listeners about their relationship with The Beatles, I hope this wonderful podcast continues for years! I am not sure what plans Shaw has regarding expanding I am the EggPod. Maybe videoed episodes or regular live events. We shall have the one on 1st July but, given the buzz and popularity, it would be great to get some yearly I am the EggPod Live bonanzas! It is expensive running a podcast and booking guests, so it does need subscribers to keep supporting it so that we can get this amazing content. Having grown and evolved so much since its first episode, I think that we will get many more years of a tremendous podcast. Maybe you already know about it. You may be someone who is only discovering it today. If you can get to the live event at Opera Holland Park on 1st July, I would thoroughly recommend it. Chris Shaw has ensured that this familiar band and the members’ solo albums have found new relevance and life. I am sure there are guests that have not been on that Shaw would like to tick off of the list (Giles Martin springs to mind), but who knows. With every episode and post, the podcast is getting new traction and visibility. In Chris Shaw, here is someone who puts his…

HEART and soul into every episode!

FEATURE: Something So Right: Paul Simon’s There Goes Rhymin' Simon at Fifty

FEATURE:

 

 

Something So Right

  

Paul Simon’s There Goes Rhymin' Simon at Fifty

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I am looking ahead…

 IN THIS PHOTO: Paul Simon performing in Amsterdam in May, 1973/PHOTO CREDIT: Gijsbert Hanekroot/Redferns/Getty Images

to the fiftieth anniversary of Paul Simon’s There Goes Rhymin' Simon. The third studio album by the legend, it ranks as one of his greatest ever. Arriving the year after his eponymous album, There Goes Rhymin' Simon was nominated for two GRAMMYs in 1974 (for Best Pop Vocal Performance, Male and Album of the Year). A bigger hit than its predecessor, it reached two on the Billboard 200 chart. In the United Kingdom, the album peaked at number four. I wanted to celebrate the fact that There Goes Rhymin' Simon turns fifty on 5th May. I am not sure whether there is any anniversary release planned, but this is an album that everyone needs to hear. One of the greatest songwriters who has ever lived, Paul Simon’s gifts are all over There Goes Rhymin' Simon. Kodachrome, Take Me to the Mardi Gras and Something So Right are highlights from the album’s first side. On the second, we have American Tune and Love Me Like a Rock. Even the deeper cuts are fascinating. Simon would follow There Goes Rhymin' Simon with Still Crazy After All These Years in 1975. Another very different and genius album, this was a very fertile period for Paul Simon. One of the finest albums from 1973, I wanted to highlight a couple of positive reviews for There Goes Rhymin' Simon. Before that, Ultimate Classic Rock wrote about Paul Simon’s third studio album back in 2015:

“After spending several years dabbling in global rhythms and songforms – and kicking off his solo career in the wake of Simon & Garfunkel's dissolution – Paul Simon returned to his American roots for his second solo album, 1973's There Goes Rhymin' Simon, resulting in one of the biggest hits of his career.

The album, released in May 1973, found Simon leading a peripatetic series of sessions that took place in a number of far-flung locations, including London and Mississippi. But the place that truly colored the album's sound – and tied together its nimble explorations of gospel, folk, and dixieland – was the Muscle Shoals Sound Studio, located in Muscle Shoals, Ala.

Already the nexus for a series of classic soul recordings throughout the '60s (including Wilson Pickett's "Mustang Sally" and James & Bobby Purify's "I'm Your Puppet"), Muscle Shoals would ultimately become something of a pilgrimage for a long list of rock artists. Still, when Simon started the sessions for his sophomore solo studio project, he had no idea what to expect.

In fact, legend has it that Simon only sought out the studio because he liked what he heard on another track cut there – the Staple Singers' "I'll Take You There" – and showed up expecting to find a group of Jamaican musicians. Surprised to find a largely white crew, he rolled tape on what he thought would be one song: "Take Me to the Mardi Gras."

"We did it on the second take," bassist David Hood later recalled. "He's got all this time left over, and he's not going to pay four days' worth of studio time for one song. So he says, 'What else can we record?'"

Continued Hood, "So he sits and plays and we tape 'Kodachrome' and a few other things. He was amazed, though, because he has always taken so long recording things, he couldn't believe that we were able to get something that quickly. But we had our thing down to a real science by the time we started working with him, because we had done so much stuff, we could make a chord chart and get you a really good track in one or two takes. Songs we'd never heard before, we could do that."

The band's loose feel (as well as its signature quirks, such as the sanitary napkins Hood says they taped to the ceiling in order to ward off a leak) lent There Goes Rhymin' Simon an irresistible warmth. That was entirely appropriate for a series of songs that, while not without a certain wearily mournful vibe, offered listeners a glimpse of Simon exploring themes of fatherhood ("St. Judy's Comet"), domestic tranquility ("Something So Right"), comity ("One Man's Ceiling Is Another Man's Floor") and plain old happiness ("Was a Sunny Day").

The result was an immediate hit, spinning off a pair of Top 5 singles in "Kodachrome" and "Loves Me Like a Rock" (the latter featuring stellar background vocals from the Dixie Hummingbirds) while nearly topping the album charts and picking up Grammy nominations for Best Male Pop Vocal and Album of the Year.

Like the rest of Simon's solo albums, Rhymin' Simon was more of a stylistic detour than a document of lasting change; although he'd invite some of the same personnel to join him on some tracks for his next record, Still Crazy After All These Years, he was already moving on to his next sound”.

Widely acclaimed and celebrated, There Goes Rhymin' Simon has not aged at all. At the time, one or two reviewers felt there was a lack of spontaneity and excitement to be found. I think that this is one of Paul Simon’s most interesting and enduing albums. This is what AllMusic said when they reviewed it. I think I first heard There Goes Rhymin' Simon when I was a child, and it has definitely stayed with me ever since:

“Retaining the buoyant musical feel of Paul Simon, but employing a more produced sound, There Goes Rhymin' Simon found Paul Simon writing and performing with assurance and venturing into soulful and R&B-oriented music. Simon returned to the kind of vocal pyrotechnics heard on the Simon & Garfunkel records by using gospel singers. On "Love Me Like a Rock" and "Tenderness" (which sounded as though it could have been written to Art Garfunkel), the Dixie Hummingbirds sang prominent backup vocals, and on "Take Me to the Mardi Gras," Reverend Claude Jeter contributed a falsetto part that Garfunkel could have handled, though not as warmly. For several tracks, Simon traveled to the Muscle Shoals Sound Studios to play with its house band, getting a variety of styles, from the gospel of "Love Me Like a Rock" to the Dixieland of "Mardi Gras." Simon was so confident that he even included a major ballad statement of the kind he used to give Garfunkel to sing: "American Tune" was his musical State of the Union, circa 1973, but this time Simon was up to making his big statements in his own voice. Though that song spoke of "the age's most uncertain hour," otherwise Rhymin' Simon was a collection of largely positive, optimistic songs of faith, romance, and commitment, concluding, appropriately, with a lullaby ("St. Judy's Comet") and a declaration of maternal love ("Loves Me Like a Rock") -- in other words, another mother-and-child reunion that made Paul Simon and There Goes Rhymin' Simon bookend masterpieces Simon would not improve upon (despite some valiant attempts) until Graceland in 1986”.

I am going to wrap up soon. It is surprising that there are not that many articles out there about There Goes Rhymin' Simon in terms of its creation and legacy. It is such a huge and legendary album; I do feel it needs more words written. Ahead of its fiftieth anniversary in May, I wanted to bring attention to Paul Simon’s masterpiece. Rolling Stone provided a deep and thoughtful review in 1973:

“THERE GOES RHYMIN’ Simon is the logical second step in Paul Simon’s solo recording career, and it is a dazzlingly surefooted one. Despite its many light, humorous moments, the core theme of his first album, Paul Simon, was depressing: fear of death, its focal point a sung poem, “Everything Put Together Falls Apart,” that while worthy of comparison with the best work of John Berryman, could hardly be called “easy listening.” Since the album dealt with anxiety, it communicated anxiety and was difficult in places to accept as entertainment. This isn’t true of Rhymin’ Simon. Like its predecessor, it is a fully realized work of art, of genius in fact, but one that is also endlessly listenable on every level. Simon has never sounded so assured vocally. He demonstrates in several places pyrotechnical skills that approach Harry Nilsson’s (in embellishment of ballad phrases) and John Lennon’s (in letting it all hang out), though for the most part, Simon’s deliveries are straight — restrained and supple, bowing as they should to the material, which is of the very highest order.

Rhymin’ Simon shows, once and for all, that Simon is now the consummate master of the contemporary narrative song — one of a very few practicing singer/songwriters able to impart wisdom as much by implication as by direct statement. Here, even more than in the first album, Simon successfully communicates the deepest kinds of love without ever becoming rhetorical or overly sentimental. The chief factor in his remarkable growth since Simon and Garfunkel days has been the development of a gently wry humor that is objective, even fatalistic, though never bitter.

Thematically, Rhymin’ Simon represents a sweeping outward gesture from the introspection of the first album. Simon has triumphantly relocated his sensibility in the general scheme of things: as a musician, as a poet of the American tragedy, and most importantly as a family man. Rhymin’ Simon celebrates, above all, familial bonds, which are seen as an antidote, perhaps the only antidote, to psychic disintegration in a terminally diseased society. As an expression of one man’s credo, therefore, it is a profoundly affirmative album.

The chief new musical element Simon has chosen to work with — one he has hitherto eschewed — is black music: R&B and gospel motifs are incorporated brilliantly both in Simon’s melodic writing and in the sparkling textures of the album’s ten cuts, more than half recorded in Muscle Shoals, Alabama. The opener is “Kodachrome,” a streamlined poprock production that uses the image of color photography as a metaphor for imaginative vitality. The song opens with a couple of Simon’s most pungent lines: “When I think back on all the crap I learned in high school/It’s a wonder I can think at all.” Next is “Tenderness,” a late-Fifties-styled doo-wop ballad in which Simon tells a friend: “You don’t have to lie to me/Just give me some tenderness beneath your honesty.” In addition to boasting one of Simon’s loveliest vocals, “Tenderness” has a nicely subdued horn arrangement by Allen Toussaint and soulful R&B backups by a gospel group, the Dixie Hummingbirds.

“Take Me to the Mardi Gras” is sheer delight — a Latinflavored evocation of abandon in New Orleans that fades out in joyous Dixieland music by the Onward Brass Band. This sensuous flight of fancy is followed by “Something So Right,” Simon’s love song to his wife in which he tells her he can hardly believe his present happiness, since he is by nature a pessimist. A ballad that begins in an offhand, almost conversational tone, it builds slowly into a declaration of great eloquence. Side one closes with a witty, R&B piece of homespun city philosophy, “One Man’s Ceiling Is Another Man’s Floor.”

“American Tune,” which opens side two is the album’s pivotal moment. A flowing ballad with the chordal structure of an American hymn-tune, its magnificent lyrics give us Simon’s definitive reflection on the American Dream. Writing from a state of exhaustion in England (Paul Samwell-Smith co-produced the cut in London, and Del Newman provided the stately string arrangement), Simon sees the country as a nation of “battered” souls, but still “home,” and the American Dream either “shattered” or “driven to its knees.” In an apocalyptic reverie, he equates his own death with the death of America and sees “the Statue of Liberty sailin’ away to sea.” The song, which has instrumental touches that deliberately recall Simon and Garfunkel’s “America,” is the single greatest thing Simon has yet written, a classic by any standard.

“Was a Sunny Day” reshuffles images from “Kodachrome,” treating them playfully in a semi-reggae setting. A “high-school queen with nothing really left to lose” makes love with a sailor whom she calls “Speedoo but his Christian name was Mr. Earl.” “Learn How to Fall” has an opening melodic phrase similar to that of Bette Midler’s now-famous intro, “Friends,” but a different message: “You’ve got to learn how to fall/before you learn to fly.”

The album’s last two cuts, “St. Judy’s Comet” and “Loves Me Like a Rock,” complete the thematic cycle of songs avowing familial devotion. In the exquisitely tender acoustic lullaby, “St. Judy’s Comet,” Simon enters into the imaginative life of his son, who wants to stay up late to watch for the mythical comet of the title. Simon concludes: “‘Cause if I can’t sing my boy to sleep/Well it makes your famous daddy/Look so dumb.” In “Loves Me Like a Rock,” a hand-clapping, call-and-response gospel anthem with the Dixie Hummingbirds providing the response, Simon resurrects his own childhood relationship with his mother. Since the anxiety-laden “Mother and Child Reunion” was the opening cut on the first Simon album, it is fitting that this incredibly powerful song of love and gratitude, reminiscent in spirit of “When The Saints,” should close the second.

Rhymin’ Simon is a rich and moving song cycle, one in which each cut reflects on every other to create an ever-widening series of refractions. Viewed in the light of the first album, Simon seems ultimately to be saying that acceptance of death is only possible through our ability to honor our human ties, especially those formed within the family structure. Only through the mutual affirmation of love can we redeem our imaginative powers from despair and be able to live with the breakdown of the wider “family” structure that is the American homeland without ourselves breaking down”.

There are some incredible albums turning fifty this year. No doubt that There Goes Rhymin' Simon is one of the most important from 1973. With songs from the album played to this day, it is clear there is a lot of love from one of Paul Simon’s greatest works. On 5th May, we will celebrate fifty years of…

THE magnificent There Goes Rhymin' Simon.

FEATURE: The Digital Mixtape: Beyoncé’s Crazy in Love at Twenty: A Twenty-Song Guide to the Icon

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Beyoncé on the set of the Crazy in Love video shoot

 

Beyoncé’s Crazy in Love at Twenty: A Twenty-Song Guide to the Icon

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AN important anniversary…

 IN THIS PHOTO: Beyoncé in a promotional photo for 2022’s RENAISSANCE/PHOTO CREDIT: Mason Poole

is coming up, so it gives me an opportunity to compile a Beyoncé playlist. On 18th May, 2003, her huge hit, Crazy in Love, was released. Featuring JAY-Z, it remains one of her best-known songs. The lead single from her 2003 debut album, Dangerously in Love, it is a superb song that introduced this remarkable solo act. Having been a member of Destiny’s Child before – and her final album with the group was with 2004’s Destiny Fulfilled -, maybe there was a mixture of confidence about her solo ability, and some judgment about whether she would be able to step out alone and do something individual and good. Those doubts were answered with the emphatic and anthemic Crazy in Love. Ahead of its twentieth anniversary, I wanted to both celebrate a song that went to number one in the U.S. and U.K. and provide a playlist for those who want an introduction to this icon. Maybe you are not a huge Beyoncé fan, but this playlist should help you out. Crazy in Love used samples from the Chi-Lites' 1970 song, Are You My Woman (Tell Me So). I love how you get this R&B base, but there is Rap and Disco elements. Maybe speaking about JAY-Z, this song is about the heroine losing her mind over this new love. It is one of her very best songs, and you still hear it played a lot today. Last year’s RENAISSANCE was Beyoncé’s seventh solo album. She has also released an album with JAY-Z as The Carters. EVERYTHING IS LOVE came out in 2018. The Dangerously in Love album is twenty in June, and I know there will be celebration closer to the time. I wonder whether there will be an anniversary edition or anything tied to that event. I wanted to mark the approaching twentieth anniversary of the majestic Crazy in Love with a twenty-song ultimate Beyoncé guide. If you need to hear the very best of this queen of music, then you should check out…

THE songs below.

FEATURE: Credit Where It’s Due: Visionary, Real and Leaps Ahead: Will the Brilliant Music Made by Women Lead to Change Regarding Equality?

FEATURE:

 

 

Credit Where It’s Due

 IN THIS PHOTO: SZA/PHOTO CREDIT: RCA Records

 

Visionary, Real and Leaps Ahead: Will the Brilliant Music Made by Women Lead to Change Regarding Equality?

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THIS is a subject that I come to regularly…

 IN THIS PHOTO: Ellie Goulding/PHOTO CREDIT: Madison Phipps

but I cannot help but think that this will be a pattern for years to come. Not to discount the music made by men (and non-binary artists) but what is being produced by female artists is phenomenal! I have already published a feature that listed the ten albums made by women this year so far. Since then, there have been stories and releases that emphasis the fact that female artists are dominating. I will drop a couple of pieces in there. We are only just in May, but the best and most extraordinary music so far has been made by women. There are a few notable aspects when it comes to the female artists established and rising. I think that the new breed coming through and defining genres. In terms of Pop, exciting artists like Dylan are adding their own stamp. That is not to say the Pop made by male artists is lacking something, but the personal, inventive, and striking music made by women is more indelible, original, and exciting. That is the same when we extend things across other genres. Even if certain genres are still dominated by men in terms of the numbers and representation cross festivals and radio, female artists in these genres are producing the most remarkable work. From the mighty and captivating Rock and Punk of Nova Twins to incredible Hip-Hop of Bree Runway, through the gorgeous Soul of Samara Joy, the words, vocals, and compositions are remaining in the memory much longer – and making a much bigger imprint in the mind.

It is not the case that they have more to prove or are shouter louder because of the misrepresentation and imbalance. I think it is a natural instinct and ability that has been present for a very long time. When it comes to Pop and Disco, there are various queens that one admires. Roisin Murphy and Kylie Minogue are two examples, but I think that Jessie Ware is leading that charge. With a faultless C.V. so far, her latest album, That! Feels Good! (released on 27th April), has received massive applause and acclaim. Maybe her finest album to date, there is nobody like Ware. I don’t think there is a male equivalent when it comes to someone who can mix Pop, Disco, and Post-Disco to such dazzling effect. This is what NME noted in their recent review:

“Jessie Ware is hooked on the feeling of self-expression. Labelling an album as ‘the real me’ is a line used all too often by pop stars, a declaration that often prefaces some lukewarm music, but the London vocalist’s fifth record feels genuinely enveloping: ‘That! Feels Good!’ is a maximalist tour de force of glossy pop sounds. A liberating collection that seeks to paint a three-dimensional picture of Ware – as “a lover, a freak and a mother”, as she sings on ‘Pearls’ – this album sees her embrace a Sasha Fierce-like alter ego in a celebration of dancing and female agency.

Ware has been working towards this moment for over a decade, constantly reaching for the stars throughout a fairly challenging career. With 2017’s middling ‘Glasshouse’ having been hobbled by an identity crisis, its follow-up, 2020’s ‘What’s Your Pleasure’, saw Ware illuminating her eccentricities; the latter’s strength was its total lack of subtlety, fuelled by Ware’s playful self-presentation and her use of big, thumping beats. Through it all, Ware’s newfound musical persona remained unmistakable: dramatic and theatrical, with a level of proud bravado.

Ware’s devoted following, and her many LGBTQ+ listeners in particular, have since turned to her for lively anthems that pay homage to the safe spaces made by and for the community. ‘That! Feels Good!’s 10 tracks often depict romantic relationships, but taken together, they are actually affirmations of self, a reflection of communal dancefloors world over. ‘Beautiful People’ doubles down on the sexual frisson of ‘70s disco classics, as well as inflections from the ballroom scene with its whispered vocals and marimba rhythms. The commandingly flirtatious ‘Shake The Bottle’, plus the aforementioned ‘Pearls’ – which was recently remixed by Brazilian artist and drag queen Pabllo Vittar – see Ware attack her lines via a precise staccato”.

Again, rather than dismissing the music of men, I wanted to highlight and emphasis the sheer quality and consistency of music made by women. I have used the term ‘embarrassment of riches’ before, but that remains apt. Every week seems to offer a potential year-defining album from a female artists. Not even half-way through 2023, who knows what will come! I do know that the end-of-year list will be heavy and made fascinating by albums created by female artists. Whether it is the intoxicating and earth-moving sounds of Jessie Ware or a tenderness and beauty that comes from an act like boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker), there is this amazing array out there. Alongside established artists who are putting their names in the history books, those rising acts to watch closely are also delivering music that hits hard. When it comes to emotional honest and revelation, I feel there is a potency and depth from women that outstrips that from male artists. The same comes of something that extends beyond sound and style. In terms of image and the complete artist, women are standing out front. A recent article by The Guardian discussed SZA and how she is a very real artist. That realness might be in short supply across Pop:

“SZA is a different breed of pop star. In even her most glammed-up press shot, she is splattered with blood; in another, she’s coated in a thick film of mud, and on the cover of her second album, the emotional bombshell that is SOS, she sits with her back facing the camera, looking out on a vast ocean, in a nod to a famed paparazzi shot of Princess Diana. These are distancing devices – ways for the 33-year-old musician to armour herself against the leery intensity of fame.

It makes sense that she would have an inclination towards self-protection: SOS contains some of the most intense, emotionally scabrous music to grace the UK or US charts in a long time. Case in point: Kill Bill, the album’s calling-card, is hardly your typical pop radio fare. It’s an unapologetic, avowedly sober murder ballad, in which SZA sings over a diffuse boom-bap beat about killing her ex-boyfriend so that no other woman can ever have him. The production is plush, comically light, gilded with soft doo-wop harmonies, but the lyrics are brazen, galvanised and monomaniacal. Although named for the Quentin Tarantino film, Kill Bill’s revenge fantasy provides no real emotional payoff; its narrative is a cry of pure fatalism, with no return for its narrator other than a split-second of bloodlust. I heard SOS at a listening session a week before its release, and when Kill Bill concluded – with SZA’s emphatic “Rather be in hell than alone” – you could hear much of those in attendance let out an audible “oof”.

This week, the song finally hit No 1 on the Billboard Hot 100 after a long run in the Top 5, nearly five months on from the release of SOS. The album spent nine weeks at No 1 on the Billboard 200, making it the longest-charting No 1 by a woman since Adele’s 25 seven years before, despite not yet being available in any physical formats.

SZA’s success feels like a win for a kind of pop music that’s in short supply right now. The songs that had been holding Kill Bill from the top spot, Morgan Wallen’s Last Night and Miley Cyrus’s Flowers, feel boilerplate in their emotion, presenting easily digestible versions of post-breakup sadness and post-breakup empowerment respectively. SOS is captivatingly messy, not just in its sad, funny, sexually frank lyrics, but in its production, which makes room for a country-emo hybrid, 90s-indebted rap, and plugs samples of Björk and Ol’ Dirty Bastard into the same song. SZA’s remarkable voice, somehow husky and mellifluous at the same time, is instantly distinctive – but seemingly unlimited in its applications, so broadly does she modulate it here – and is the unifying factor; it allows her to experiment far more widely than a lot of her contemporaries. The closest comparison in recent memory might be Janet Jackson’s unimpeachable output at the turn of the 90s – a time of commercial and critical dominance in which she experimented with nascent genres such as trip-hop and contended lyrically with both her newfound status as a sex symbol and a deepening depression”.

Whilst I disagree that Pop lacks realness, and the likes of Miley Cyrus provide music that is not as affecting and challenging, it is clear that the leaders and shape-shifting innovators of most genres are women. That may be a big claim, but I see very few genres that are either defined by or what they are because of male artists. From brilliant rising artists like Iraina Mancini and Holly Henderson, through to the legends who are putting out stunning music years into their career, I cannot help but feel music is made much stronger and more extraordinary by women. There are brilliant male and non-binary artists who are geniuses and staggering talents. Kae Tempest and Antony Szmierek are favourites of mine. Loyle Carner is another artist I have a lot of love for. They are not to be downplayed or seen as inferior. My point is that, whilst this obvious dominance and brilliance from women is coming through and shows no signs of slowing, it is not being reciprocated by the industry. I have written extensively about festival imbalance. Bills are starting to even out when it comes to genre, but the headline spots are largely occupied by male artists. Even if professional studios feature very few women, there are incredible self-producing artists that are inspiring women to go into production – and studios and the industry should recognise that are affect change and a better working culture.

Also, I still find radio playlists are a little skewed towards male artists. So much brilliant and impactful music is being overlooked and put aside to make way for men. I hope that things change next year. With so much sexism and gender inequality throughout the industry, how long will this go on?! There are so many visionary and exceptional women in music that are ensuring that the music made today will be heard and admired decades from now. I have asked before whether change will come. Whether the strength of female artists will be noticed and respected. I feel we will see some improvements. It is amazing (though not surprising) that so much phenomenal music is being made by female artists. It is a shame that the industry is so slow to bring about parity. From there being fewer opportunities for women (compared to men) to the abuse and discrimination many face, it is obvious things need to get better! Even if there is a long way to go, there are shoots and leaves blossoming that point towards parity and recognition. I want to embrace and celebrate male and non-binary artists, as they are essential and brilliant. I do feel that, notably, women are putting out music with that extra edge and depth. This year is definitely no exception! Everyone hopes that we see huge leaps forward regarding inequality and discrimination. I do feel that 2024 is…

A year where things get a lot better.

FEATURE: Spotlight: Kelli-Leigh

FEATURE:

 

 

Spotlight

  

Kelli-Leigh

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AN artist that…

I have so much love and respect for, Kelli-Leigh is not only a tremendous solo artist and former backing singer. She is an incredible songwriter and someone who has just directed, edited, and graded the video for her new single, Never Dance Again. A remarkable talent who is among the best artists we have in music, I wanted to spend some time with her. There are a few interviews I want to get to. Whilst most of the interviews with Kelli-Leigh are from 2020 or before, there is one from last year that I want to finish with. I wonder whether there will be album later this year. She has this collection of remarkable songs under her belt, so I am curious whether we will get an album and then a nationwide tour to promote it. No doubting the fact that she is someone who has a huge fanbase that would love to see her hit the road. If you have not discovered Kelli-Leigh then make sure that you correct this. With her own label, Music Core Limited, this is an artist who I think will be releasing phenomenal music for many years to come. There is nobody in the industry with her sound. I have always loved Kelli-Leigh’s music. She has featured on collaborations in the past, yet I think she is at her strongest when she is at the front and leading. She can effortlessly work alongside any other artists, but I feel her solo material allows us to experience her full range. I want to go back a few years to Run That Again’s interview with Kelli-Leigh. Later that year (in September) she released the remarkable E.P., Can’t Get Enough. Here, she discusses running her own label, and how working in the industry has been a bit of a rollercoaster:

“I set up my own label so I could release my own music to give myself an opportunity, platform and a place for my voice, and selling it out showed me that backing myself was the right decision to make, I felt overwhelmed and extremely proud.”

Being exposed to every level of the music industry comes with many experiences both positive and negative. We ask her about these and what advice she might have for aspiring artists as well as the best advice she might have received herself.

 “I have had negativity towards my journey, I’ve been told perhaps it would’ve been better to stay in my lane as a session singer and sing records for other people and earn a small living from it instead of wanting my own path as an artist. That came from someone I truly respected so that hurt the most.

“Other things have been; which I’m sure a lot of us have experienced, is that lack of support, people who don’t shout you out or want to credit you for your work. However, I have also met some of my best friends through working in the music industry, friends I will have for life and been on some of the most incredible adventures I could’ve dreamed off. As one of my besties Katie & I say ‘It’s a rollercoaster life’.”

“The best piece of advice I’ve ever been given was by my friend Leona Lewis who told me to make sure I have good management. I’ve definitely learnt my lesson from having bad management in the past!”

“I would love to work with Fink, I’ve been touched and inspired by so much of his music. One of my favourite concerts ever was seeing him and his band play with the Royal Concertgebouw Orchestra in Amsterdam a few years back, absolute goose-bumps! I’d also love to work with Artist and writer Tayla Parx, the hits she’s written is insane and her own music is so fresh. I’d love to see how her brain works in constructing a song.”

Kelli-Leigh has already shown international success with her music: she’s appeared on Radio 1 Live Lounge, been played on KISS FM, been in the top 10 Shazam trending and even entered Virgin Radio Dubai’s HOT 30 chart as a global artist. But it’s not all about the music. We’re also interested in what she gets up to when she’s not grinding out results. What’s one thing no one knows about her?

“I’ve seriously got into video editing, I co-edited my last few videos, and have completely edit my next two. I find it so rewarding getting the visuals right to the music and the more I’m involving myself in the editing process the more I feel like I’m giving the most honest creative version of myself”.

I will move along to a later interview. Lady Gunn chatted with Kelli-Leigh about the Can’t Get Enough E.P. Released in 2020, it must have been a difficult year for an artist who was releasing this big statement. When the pandemic struck and touring was not possible, so many artists were doing promotion online and unable to connect with their audience like they were used to. That said, I remember the E.P. coming out in 2020. It was a bit of a lifeline at such a difficult time:

“Can’t Get Enough is a journey EP.” With this in mind, South London artist Kelli-Leigh takes us through the early stages of a blossoming relationship with her five track project. Beginning with the first sparks of romantic connection on the glistening “Can’t Get Enough,” to the malty sultriness of “Whiskey Midnight,” Kelli-Leigh is an engaging storyteller.

“Lyrically, the project follows a relationship from the early days, the build-up of sexual tension, and ultimately the ending. These are the songs that most represent me as an artist and the sound I have been developing.”

It’s a sound that’s been long in the making. Having featured on a number of club hits, including “More Than Friends” (James Hype), “I Wanna Feel” (Second City), and the Billboard Dance Chart and GRAMMY-nominated #1 “I Got U” (Duke Dumont & Jax Jones), Kelli-Leigh also toured with Adele as a backing vocalist for her second album 21 in 2010 and has joined Jessie J and Leona Lewis on stage.

However, it’s her work as a solo artist where she has been able to create the music she’s always wanted to make. The EP is a polished body of work, shimmering with elegant pop melodies and jovial dance melodies – a celebration of her artistic journey.

We chatted with Kelli-Leigh to find a little more about her new project, as well as the importance of championing the independent artist.

 YOU’VE RECENTLY RELEASED YOUR NEW PROJECT CAN’T GET ENOUGH – COULD YOU TELL US A LITTLE MORE ABOUT THE EP?

“Sure! The EP is a journey of my sound. When I started the label Music Core back in 2018, I was finding my way through the dark. With each release I was learning so much that I never knew about the industry and how to release music. I also felt a big weight of expectation on what my sound should be from all my dance features. This EP is my favourite body of work so far, and listening to the full EP opens up the sound of who I am and lyrically what I’m about.”

YOU DESCRIBE THE PROJECT AS A JOURNEY EP – LYRICALLY THROUGH THE STAGES OF A RELATIONSHIP BUT ALSO IN YOUR MUSICAL CAREER AS WELL. WHAT DOES THIS COLLECTION OF SONGS MEAN TO YOU RIGHT NOW?

“Honestly, it shows me how far I’ve come. I’ve worked really hard on building my self-esteem for my own project. I’m strong-minded and very honest but I have been left feeling insecure about who I am as I’ve had so many opinions of who I should be forced onto me. This EP is all my songwriting, it’s my visual direction (with each video getting more confident as I learn more about video editing and how I wanted to present my art, for my budget). It’s also a milestone for what’s to come.”

 AS WELL AS SETTING UP YOUR OWN LABEL YOU ALSO RUN AN INDEPENDENT ARTISTS PLAYLIST WHICH IS REGULARLY UPDATED WITH FRESH NEW TUNES. WHY DO YOU THINK IT’S SO IMPORTANT TO REPRESENT THE UNSIGNED ARTIST?

“I just feel like there is a lack of clear support for independent artists on the playlisting side. Spotify has one main independent artist playlist which is extremely hard to get on, and that playlist is then broken down into several indie playlists based on genre. When you submit your songs for editorial on any DSP there isn’t a button you can click for Independent artists. So you’re in effect competing to be heard by major label artists who already have the monopoly of playlisting. There is such incredible music out there and starting this playlist has proven that tenfold. I’ve heard songs on this playlist that have under 1000 streams and are amazing!”

WHAT HAS RUNNING A RECORD LABEL TAUGHT YOU ABOUT THE INDUSTRY? WERE THERE ANY SURPRISES ALONG THE WAY?

“Be over-prepared. A release needs to be prepared at least 2-3 months in advance (finished production, mix & master, artwork, uploading to distributor, scheduling, marketing). You probably need more budget – marketing is bigger than any of us realize. Have a follow-up record if your previous one does well so you can piggyback off it.

Keep it moving, try to have no expectations as that can lead to disappointment especially for indie artists (I have been there several times). Most importantly, believe in what you’re releasing, as you’re doing it for you because you love the music. That has to be first.

Surprises, yes. Sometimes it doesn’t matter what stats you have, some people just won’t support a record, and one that you may not put as much attention on as the others will do amazing things. There is no industry consistency, all you can do is be consistent with yourself and hopefully the rest will follow”.

I will round off with an interview from Sound Plate. Talking about her Christmas single, Unwrap My Heart, the Grammy-nominated singer-songwriter also revealed why she was particular proud of her single, New Chic, and what she wanted to achieve this year (2023). I think this year has got off to a flyer for Kelli-Leigh. She is producing some of her best and most memorable music right now. This is someone everyone needs to keep an eye on:

“What advice can you offer other singers working with producers as session singers or featured artists. How important is being properly credited for your work?

Be aware of what the terms are before you agree to anything. Don’t be afraid to ask what the recording is for and what the intentions are for a record you are involved in. If you’d like to purely focus on the creative process make sure you have a manager or representation who is looped in with the producer and their team to query any concerns/make an agreement for the use of your work

This year, you have released a string of great commercial-dance tracks, how have they been received? Is their one track from 2022 you are particularly proud of?

I’m particularly proud of ‘New Chic’ it was my first release this year and my first release going back to being Independent after my 1st major label signed single the year before. It was rejected by the A&R however received a Spotify cover of New Dance Revolution and was supported and playlisted by Captital Dance, Kiss FM & Radio 1.

Having worked with so many stars in the past, have any of them given you any unforgettable advice or wisdom you can share with us?

I’ll never forget when Leona (Lewis) said to make sure to have good management.

I’ve had some ups and downs with that over the years and i always think back to her advice. Your management truly is an extension of you, the artist so you want someone who is honest, caring, strong and has your best interests at heart. It’s your career you are trusting someone with at the end of the day and a bad email, phone call or meeting can potentially hinder or ruin future opportunities for you as an artist. At the same time you need someone who isn’t afraid to stand up to bullies in the industry who will try and get something out of you because they are higher up. It’s the most important relationship you’ll have in your business career.

Looking forward, what does 2023 hold for you, will you be returning to Ibiza again, any other exciting projects we should look out for?

I’m looking forward to heading out to LA in January for some sessions to celebrate my Grammy Nominated writers credit on Diplo’s album with ‘Forget About Me’ which I co-wrote with Aluna. I’ve also got several collabs which will be dropping early in the year so looking forward to those out before continuing with my single release”.

If you are new to Kelli-Leigh or only know some of her work, go explore and spend some time with this stunning artist. She is someone I am predicting will enjoy many more years in the industry. As one of our very brightest and most astonishing artists, you need to ensure that she is…

IN your hearts.

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Follow Kelli-Leigh

FEATURE: Before 30th July… A Kate Bush-Related Challenge to Raise Funds for Crisis

FEATURE:

 

 

Before 30th July…

IN THIS PHOTO: Kate Bush signs an autograph in 1980/PHOTO CREDIT: Mirrorpix/Getty Images 

 

A Kate Bush-Related Challenge to Raise Funds for Crisis

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I am not going to mention Kate Bush’s birthday…

 PHOTO CREDIT: Katebushnews.com/Cabaret vs Cancer

until closer to the time on 30th July. She will be sixty-five. I know that is a big birthday, but she will be the last person to celebrate it with such significance and hoopla! She will be pretty modest and low-key, I am sure. I know that many websites will use the opportunity to mark her sixty-fifth birthday. Maybe they will do her best sixty-five songs or write about Bush’s ongoing significance. I have said how I’d like to do a Lionheart podcast. Bush’s second studio album came out in November 1978 so, ahead of its forty-fifth anniversary, maybe a special podcast. It is an underrated and under-loved album that more people should really appreciate and seek out. I think that would be a fitting tribute to someone whose music has enriched so many lives. I am definitely going to up the amount of features I do. Rather than highlight her birthday and age, it is a good opportunity to go deep with her albums and explore various sides to her career and personality. There is something special I want to do. As opposed a birthday present, there is something Kate Bush-related that would be awesome. She is someone who has spent so much of her career supporting charities. The likes of Crisis are particularly close to her heart. Recently, Bush donated a couple of signed CDs to a very worthy cause. Here are more details:

“Kate has donated a number of signed Running Up That Hill CD singles to the annual Cabaret vs Cancer charity music auction. Cabaret vs Cancer was set up in 2016 and raises money through cabaret and burlesque shows as well as themed online auctions to help people coping with the effects of cancer. Kate has donated signed items for the previous two music auctions. Dave Cross from HomeGround Magazine is a patron of the charity, and last year organised a Kate themed cabaret fundraiser at The Royal Vauxhall Tavern in London. The music auction also includes signed items from Kim Wilde, Belinda Carlisle, The Pet Shop Boys, Stormzy, Taylor Swift, Joan Armatrading and many limited edition vinyl and CD collectibles. Please do check out the auction online here, a wonderful cause – thanks Dave!”.

IN THIS PHOTO: Kate Bush cuts her thirtieth birthday cake on 30th July, 1988 at Blazers Boutique, where she was raising money for AIDS Victims/PHOTO CREDIT: Mirrorpix

It is no surprise that Bush has opted to raise money for a worthy charity. There are those who would say that, as she has a fair bit of money herself, why can’t she donate herself. She wants to give something; something like a signed C.D. It also helps raise awareness and focus, rather than her just doing this privately. Getting fans involved and bringing to the focus important charities has been in her blood since the early days. For example, on her thirtieth birthday on 30th July, 1988, Bush cut her birthday cake at Blazers Boutique where she was raising money for AIDS Victims. This kind of altruism and selflessness is another reason why she is so respected and loved around the world. I felt, rather than doing a birthday celebration or something related on 30th July, I would use the opportunity to follow in her footsteps. If she spent her thirtieth birthday raising money for charity, I would like to do something for charity on her sixty-fifth birthday. I have been thinking about backing Crisis and raising money for them. A charity that aims to end homelessness, I am acutely aware of the problem living in London. There is so much rough sleeping in the capital, and you wonder how much is being done to help those in need. A very worthy charity that aims to assist those affected and try to end something that shouldn’t exist in the modern age, I wanted to do that highlights her work, but also raises money for charity.

 PHOTO CREDIT: freepik

Rather than something like an album listening party, event, or podcast, maybe a marathon challenge or something that would be quite a feat. It would be interesting to hear suggestions, but I was thinking of doing a challenge related to journalism. 31st July falls on a Monday this year so, starting on Sunday and ending on Monday morning, I was thinking of instead writing one to-end-them-all feature. Designed to show a love of the icon and also a guide to music for new listeners, rather than write an entire book about her – which would take weeks and months -, doing something over the course of maybe twenty-four hours would be more fitting. Perhaps it could be streamed, but the challenge is to complete the whole thing and publish it before 8 a.m. on Bush’s sixty-fifth birthday. Instead of making mention of her birthday, it would be like any normal feature, albeit a pretty comprehensive one! Linking to Crisis, I would set up a fundraising page and urge people to donate. Of course, if I do not finish the feature by the deadline, then that does not mean the charity goes without. The money goes there regardless. It is chance for me to express my love of Kate Bush with that desire to introduce her to as many people as possible. There is a whole generation out there who do not know about her work, or they do not know the depth of its brilliance and variety. Crisis is a charity that I am a big supporter of . The charity offers year-round education employment, housing and well-being services from centres in East London, Newcastle, Oxford, Edinburgh, South Yorkshire, South Wales, Croydon, Brent and Merseyside. It would be amazing to do something for them and bring Kate Bush into it. I wonder if people would donate and support an idea like that. Ahead of her sixty-fifth birthday, I have been thinking of doing something big that would not draw attention to that milestone, but it would be an opportunity to do something special. A marathon feature or twenty-four hour challenge, I think, would be a nice tribute to..

AN amazing person.

FEATURE: An Amazing Return! Why the Revival of the HMV Flagship Store on London’s Oxford Street Is Especially Important

FEATURE:

 

 

An Amazing Return!

IMAGE CREDIT: HMV

 

Why the Revival of the HMV Flagship Store on London’s Oxford Street Is Especially Important

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ONCE beautifully situated…

 PHOTO CREDIT: Getty Images/HMV

at 363 Oxford Street in London, there was something beautiful perfect about HMV. With so much foot traffic, you would wander into this big store and browse for vinyl, C.D.s, books, and merchandise alongside so many different people. It was a vibrant and bubbling hub for those who were looking for something special. The flagship store closed its doors in 2019. That looked like things were it. High rent and a comparative lack of trade meant that this hugely important and convenient store closed. Since then, one has had to go to independent stores to get music. I cannot think where the nearest HMV is to central London. I guess the pandemic starting in 2020 meant so many people wanted to support record stores that were struggling. With HMV doing well during the past few years and getting new customers and increased sales, it not only means that the company has survived and is growing. We also get to see the return of an historic store that we all thought had been consigned to history. This Music Week article explains more:

“HMV is set to make a return to Oxford Street after a four-year absence, with a lease signed to confirm the reopening of its flagship later this year.

HMV currently has 120 shops across the UK, including a West London location in Westfield, the specialist Fopp store in Covent Garden, and the 25,000 sq ft Vault in Birmingham – Europe’s largest entertainment store.

Sunrise Records owner Doug Putman acquired the historic music chain in 2019. Since the closure of the 363 Oxford Street store in the same year, the presence of a flagship in the capital has been on the agenda.

Under Putman’s tenure, the business has evolved its concept to centre on a fan and community-orientated offer, including in-store gigs from local acts. It has successfully tapped into consumer demand for vinyl.

363 Oxford Street will feature HMV’s new logo, and be fitted out with the new ‘HMV shop’ concept. The first store featuring the new layout and offering opened in Solihull on HMV’s 100th birthday in July 2021.

The concept will have been taken to 24 new sites – and retro-fitted to 14 of the existing estate – by the end of the year. By 2024, half of the HMV estate will have been converted to the new concept.

Doug Putman said: “The expansion of our fan-focused pop culture offer is really working for us and the reopening of our flagship represents the culmination of a good few years of hard work. We are also opening stores in Europe this year, so while it is the culmination of one phase of work, more excitingly we see it as the launchpad for an exciting new era for HMV.”

The new 363 Oxford Street store is expected to stock a large range of pop culture merchandise, vinyl, film, TV and music technology.

In the past year, HMV shops in the UK have welcomed artists such as Charli XCX, Stormzy, Shania Twain, Raye and Ellie Goulding for signings. The central London shop is expected to draw big names and is set to stage performances from up-and-coming acts through the HMV Live&Local programme.

363 Oxford Street played host to the very first HMV store in 1921. It became one of the UK’s most famous retail destinations. In 1995, Blur performed a memorable rooftop gig. A year later, the store hosted the Spice Girls’ Christmas Lights switch-on.

It remained there until 2000 when HMV relocated to its 150 Oxford Street store (since closed). HMV later returned to 363 Oxford Street in 2013. Since its closure in 2019, the site has been operated as an American-style candy store.

Cllr Geoff Barraclough, Westminster City Council’s cabinet member for planning & economic development, said: “It’s fantastic to see this iconic brand back on Oxford Street, where it stood as a driver of music and pop culture in the capital for so long. It’s also particularly pleasing it is replacing one of the many US candy stores which sprang up during the pandemic.

“The return of this famous name is proof that there’s a buzz back in the West End. Established retailers want a presence on the UK’s premier shopping street and as a council we want to see the nation’s high street reinvigorated and home to brands like HMV.

“There’s nothing quite like browsing through CDs and vinyl in-store. As a teenager who bought his first LP in an HMV shop some decades ago, I look forward to reliving that experience!”

Sam Foyle, co-head of prime global retail at Savills, acting on behalf of the private landlord for 363 Oxford Street, said: “The return of HMV is a major milestone for Oxford Street. It shows the growth in belief and confidence for the street. The previous vacancy and short term candy store tenant, was the focus of the challenges facing Oxford Street. HMV reopening along with many other global transactions in progress, demonstrates that Oxford Street has recovered”.

PHOTO CREDIT: Getty Images/HMV

I have been shopping at HMV since I was a child. Whereas other chains like Our Price have come and gone, the reliability of His Master’s Voice has been there always. I was worried that HMV would decline and go into liquidation without chance of survival. Stores have closed down, but that is the sad reality of the high street. This fresh news is marvellous. It will give hope to other stores. Maybe there will be new HMV branches popping up soon. I hope that the reopening of the flagship store leads to maybe another one opening in Oxford Street – as I believe there used to be two HMV stores down that way. It has been sad walking past where the flagship store used to be and not seeing and feeling that welcoming buzz and intoxication! I am not sure what special gig or event is planned for the reopening, or exactly when the flagship store returns. it is still magnificent to know that this year will see the resurrection of HMV on Oxford Street. With so much room that one could explore, this store was always going to struggle in such an expensive part of London. Now, with profits at HMV up and there being this loyal and unwavering customer base, let’s hope we do not have to say goodbye to it for a second time! We need to ensure that the flagship store remains where it is for many years to come.

 IN THIS PHOTO: 1963: an HMV van outside the store/PHOTO CREDIT: Getty Images/HMV

Not only is there this accessibility and convenience for those in London. I also feel that the more we get rid of stores like this, the worse it is for the industry as a whole! At a time when vinyl is booming, cassette sales are rising and there is this new demand for physical music, chains like HMV are vital! The friendly and passionate staff are also a big reason why the stores succeed. It is nice to browse and have so much awesome choice. I am looking forward to browsing the vinyl, picking up some T-shirts and generally seeing what is in there. The new design and layout means it is going to be a different look to what it was in 2019. You will still be able to get all you need, but it will be more modern and interactive. I have seen the news shared online, and there is this celebration, relief, and delight. When it was closed in 2019, I remember being so gutted! That was echoed and amplified by so many other people. The high street has always struggled, and the pandemic has not helped too much. Maybe people have less money, so it is especially unexpected that we should hear of a once-gone HMV store rising again in its rightful place. I have not been to 363 Oxford Street recently, but I don’t think anything has replaced it. That space can now reopen and make up for lost time! Situated in a very busy part of London, you know the store will get a tonne of customers when it opens its doors once more. Running alongside the successful and rise of physical music, it shows that people want to shop for music on the high street - and they are not solely relying on streaming and buying music online. Let’s hope that this continues and we cherish the flagship store for a long time more. HMV is such a respected and beloved chain that means so much…

 IMAGE CREDIT: Dog & Trumpet

TO all of us!

FEATURE: One for the Record Collection! Essential May Releases

FEATURE:

 

 

One for the Record Collection!

 IN THIS PHOTO: Paul Simon/PHOTO CREDIT: Myrna Suarez

 

Essential May Releases

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I am casting my mind forward…

and looking to the great albums that are due for release next month. There are some phenomenal releases that people need to get involved with and pre-order. To start, on 5th May, there are a couple of albums that you need to check out. One that you might want to pre-order is Ed Sheeran’s ‘-‘ (Subtract). An artist who has had this run of albums using mathematical symbols, he now brings that series to a close. It seems like this might be his most open and vulnerable album yet. Even if I recently reacted to something Ed Sheeran said regarding the use of critics and whether we need them, I know there are people out there who will be interested in his new album and want to get a hold of it. Even if some critics may take against it, there is no doubting the popularity and place Sheeran holds in modern music. He is likely to score a chart topper with ‘-‘ (Subtract). This is what Rough Trade had to say about an album that will rank as one of the most anticipated and popular of the year so far:

“Ed Sheeran releases his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era. An album that revisits Ed’s singer / songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest”.

An album that differs from Ed Sheeran’s is The Lemon Twigs’ Everything Harmony. Featuring one of the best album covers of this year, it is going to be another exciting and inventive release from the amazing American duo. I would urge everyone to pre-order this album from one of music’s most fascinating forces. I always love what The Lemon Twigs offer up:

“On Everything Harmony, the fourth full-length studio release from New York’s The Lemon Twigs, the prodigiously talented brothers Brian and Michael D’Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men.

Everything Harmony successfully blends the brothers’ distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive “When Winter Comes Around,” which echoes the sophisticated grandeur of classic Simon and Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of “In My Head.” “Corner of My Eye” channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson.

While they had no grand concept for Everything Harmony, both the D’Addarios felt a “palpable mood of defeat” prevailed while writing and recording it. “New To Me” was inspired by their shared experience with loved ones suffering from Alzheimer’s, “What You Were Doing” is dressed in the tortured jangle of vintage Big Star, while “Born To Be Lonely,” written after watching John Cassavetes’ Opening Night, deals with what Brian calls “the fragility that often comes with age.”

Everything Harmony is a unified song cycle born of shared blood and common purpose. With two musical heads being better than one, there’s no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. “We share an intuition and tend to be influenced by one another,” says Brian, “so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It’s completing, editing and compiling that takes the time. We’re trapped in a web of songs!”.

I am going to move things to 12th May, as there are a series of albums from this week that you will want to look out for. The first, Alison Goldfrapp’s The Love Invention, looks remarkable. We know her from Goldfrapp, but this is her debut solo album. An artist that is such a mighty talent, the singles we have heard from her debut solo album are sounding awesome! This is an album that you really have to pre-order, as I am predicting it will not only be among this year’s best. I think that it will be in the running for a Mercury Prize. You know that Alison Goldfrapp is going to deliver something sensational:

“Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend.

With the release of her debut solo album The Love Invention - an electrifying dance-pop suite - her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. In Alison’s quintessentially complex way, the album's moments of sincerity are paired with a devious sense of fun. Lead single “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal, whilst on “NeverStop,” Alison is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat, and Balearic synths and a swooping punch-the-air chorus on 'Love Invention'.

Alison’s dedicated approach to pop innovation has firmly situated her as the rare leftfield artist who has been embraced by the pop mainstream without diluting one iota of her individuality”.

The American-born, Manchester-based BC Camplight (Brian Christinzio) offers up The Last Rotation of Earth on 12th May. An artist that I have so much respect and love for, his new album follows the incredible 2020 gem, Shortly After Takeoff. I have a feeling that this will be the most striking and memorable album from BC Camplight. If you have not heard his music before, I would proudly recommend pre-ordering The Last Rotation of Earth. You will definitely not regret it. Everything BC Camplight releases is so powerful and evocative. An artist that can draw you into a song, I am looking forward to seeing what The Last Rotation of Earth will sound like. It is definitely going to be among the best albums of this year:

“Is there a curse that says Brian ‘BC Camplight’ Christinzio cannot move forward without being knocked back? That the greatest material is born out of emotional trauma?

Whilst making his new album The Last Rotation Of Earth, Christinzio’s relationship with his fiancé crumbled after nine inseparable years. The album follows this break-up amid long-term struggles with addiction and declining mental health. The outcome is an extraordinary record, with Christinzio describing it as “more cinematic, sophisticated, and nuanced than anything I’ve done before. And more desperate”.

A group and album that may not be familiar with everyone, I would advise people to invest in Esben and the Witch’s Hold Sacred. Go and pre-order an album that is guaranteed to leave an impression. I am looking forward to it coming out on 12th May. In a strong week for music, this album is one that you will not want to let slip away:

“Esben and the Witch - comprising Rachel Davies, Thomas Fisher and Daniel Copeman - began in Brighton in 2008, later decamped to Berlin, and is now split three ways across the UK, Germany and the US. Their winding geographical journey feels representative of their path as a whole. The band have snaked through various scenes and sonic worlds across their 14 years together, while always squirming away from an easy genre classification. Their first two albums, 2011’s Violet Cries and 2013’s Wash the Sins Not Only The Face - both released on Matador Records - offered gothic, electronic-tinged dream pop and post-rock. Beginning with the Steve Albini-produced A New Nature (2014, self-released on their own Nostromo Records), they came to explore heavier post-punk and metal textures, which they intensified through 2016’s Older Terrors and 2018’s Nowhere (both via Marseille-based metal label Season of Mist).

Hold Sacred represents a reset in many ways. After Nowhere, Davies felt exhausted and disenfranchised with music, and for a while entertained the possibility that Esben and the Witch had come to an end. If they were to make a new album, they needed to take everything back to basics. They departed from their record label, returning to independence through Nostromo. They expanded operations, too, with the launch of Haus Nostromo, an online emporium and journal through which they branch away from purely music, selling “a curated collection of books, zines, art prints, clothing and more”. It’s aimed at building community, celebrating the act of collaboration, and offering an ethical, passion-driven and truly DIY platform for artists across various mediums. “Similar to the spirit of Esben, it’s always been essential for us to do everything on our own terms,” says Davies.

In the summer of 2019, the band retreated to a villa outside of Rome, with no expectations or pressures but simply the intention to enjoy each other’s company and see what musical inspiration may arise from that. This is where the rough sketches of the songs that would form Hold Sacred came to be. “It was a wonderful, restorative retreat,” Davies says. “It felt free again, and a reminder that perhaps there was still a spark left for us to unearth.”

The songs that were emerging were different than any previous. They’re brooding, gentle, almost ambient; there are no live drums, and the instrumentals comprise simple, sparse guitar and keys. “We wanted to create a softer, calmer record; a record we’d listen to when we need soothing, like the ambient records we find comforting and, dare I say, almost spiritual,” says Davies. The band used no outside producers or engineers, keeping the process limited to the three of them from start to finish — harkening back to the spirit of their earliest days when Copeman would record them in his bedroom and bathroom”.

One more album before we move on to 19th May. Madison McFerrin’s I Hope You Can Forgive Me is one you need to check out. An artist who I really love, go and pre-order this album. McFerrin blends a cappella, Electronic Pop, Jazz, and Soul. The daughter of Bobby McFerrin, she released two a cappella-based E.P.s before releasing 2019's You + I, produced with her brother Taylor McFerrin. I do hope as many people as possible buy and hear an album from one of modern music’s greatest voices. She is a phenomenal artist that we all need to embrace and highlight:

“Madison’s latest project, I Hope You Can Forgive Me, represents an evolution in her career as she finds ways to improvise and self-produce in the midst of an ever changing global pandemic landscape. I Hope You Can Forgive Me builds upon that next step sonically while exploring themes of love, self preservation, fear, and conjuring. What comes out of this work and Madison’s career thus far is a commitment to leave - leave fear and doubt behind in order to make space for what is next to come, all with a sense of style, fun, and invitation to dance through it”.

There are three albums due on 19th May that I want to suggest to you. The first is from a true legend of music. Graham Nash releases Now. It is an album from someone who, among his honours, founded The Hollies. I do not even think that he is an artist now that appeals to an older demographic and past generation. Here is someone creating remarkable music that needs to be heard by all. Go and pre-order a phenomenal new album from one of music’s giants and all-time greats. I am excited and primed for new music from the genius Graham Nash. For those who might not have heard Nash’s solo music, Now sounds like an album that you will want to get a hold of:

“Two-time Rock and Roll Hall of Fame inductee and founding member of both the Hollies and Crosby, Stills and Nash, Graham Nash returns with his first studio album of new material in seven years, titled Now. Now is produced by Nash and longtime touring keyboardist Todd Caldwell”.

Another album from 19th May that you will want to pre-order is Hannah Jadagu’s Aperture. This may be someone new to you. I only discovered Jadagu’s music last year, but I have really connected with it. I do think that you should pre-order Aperture, as it is going to be a stunning album from a rising artist that everyone needs to be aware of. Take some time out today to listen to the music of the wonderful Hannah Jadagu:

“Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu’s most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu’s subject matter. What Is Going On? confronted some of the nation’s most urgent struggles through Jadagu’s compassionate perspective. What Is Going On? built on the small online fanbase Jadagu had developed by releasing music on SoundCloud for years as she realized her growing passion for songwriting.

Now, Jadagu is releasing Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. “Where I grew up, everyone is Christian; even if you don’t go to church, you’re still practicing in some form,” Jadagu says, laughing. “Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I’ve been questioning my relationship to the church since high school, it’s definitely a theme on this album, but so is family.”

 As a kid, Jadagu followed her older sister – a major source of inspiration – to a local children’s chorus, where she received choral training. “I hated it,” Jadagu admits. “But it taught me how to harmonize, how to discover my tone, how to recognize and write melody.” The aching single “Admit It” is dedicated to Jadagu’s sister, whose love and impeccable taste have been a constant since Jadagu was a kid. The siblings were raised on mom’s Young Money mixtapes and the Black Eyed Peas (to whom Hannah credits her love of vocoder) but it was in the sanctity of her sister’s car that Jadagu discovered the indie artists who inspire her work.

With Aperture, Jadagu faced the challenge of finding a co-producer capable of complementing her work without dominating it. Enter Max Robert Baby, a French songwriter and producer who captured Jadagu’s attention with his take on Aperture’s lead single “Say It Now.” The duo worked remotely, sending stems to one another via email, before meeting in-person for the first time at Greasy Studios on the outskirts of Paris. “When I recorded my EP, it was all MIDI, but in the studio Max and I worked with a ton of analog instruments,” Jadagu says. “Every track on this album, except for ‘Admit It,’ was written first on guitar. But the blanket of synths throughout helps me move between sensibilities. There’s rock Hannah, there’s hip-hop Hannah, and so on. I didn’t want any of the songs to sound too alike.”

An aperture is defined as an opening, a hole, a gap. On a camera, it’s the mechanism that light passes through, allowing a photographer to immortalize a moment in time. For Jadagu, the word perfectly encapsulates the mood of her debut album. In the years it took her to complete, she faced moments of darkness, sure, but the process of making it was ultimately a cathartic experience, one she now shares with you. Let the light in”.

There are three albums from 26th May that I will finish off with. An album whose presence was announced recently, Paul Simon’s Seven Psalms sounds so interesting. Few expected news of a new album from Simon this year. His previous, In the Blue Light, came out in 2018. His fifteenth solo studio album is like nothing he has done before. Every music fan needs to pre-order one of this year’s most important albums:

“Recorded entirely on acoustic instruments and predominantly performed by Paul, Seven Psalms showcases Simon’s craft at its finest and most captivating, simply with his voice and guitar. Intended to be listened to as one continuous piece, the 33 minute, seven movement composition transcends the concept of the “album".

A stunning, intricately layered work, it’s a record which establishes an engaging and meditative, almost hymnal soundscape, with Paul’s lyrics providing the gravitational center for constellations of sound woven from guitar strings and other acoustic instrumentation – including choral elements from the highly-regarded British vocal ensemble VOCES8, and a beautiful vocal appearance by Edie Brickell.

True to the origin of psalms as hymns meant to be sung rather than spoken, Seven Psalms reaches back to the very genesis of folk music: King David’s Psalms. The result is a quietly moving musical experience which uncovers a wealth of subtle details with every repeated listen. A step apart from anything Paul Simon has released before, Seven Psalms defies categorization.

The record’s tone is complemented by its artwork, which features a close-up extract of “Two Owls” by the celebrated landscape artist Thomas Moran”.

A terrific young artist who is going to go far, Gretel Hänlyn releases Head of The Slug Club on 26th May. It is her first two E.P.s, Slugeye and Head of the Love Club, combined into a vinyl. You can pre-order it here, and I would suggest you do, as Hänlyn is an immense talent. Head of the Love Club came out in March, so you may have it already. I would urge people to go and get an album that brings together two E.P.s that highlights an amazing artist. I will bring in an interview from The Line of Best Fit, as they spotlighted someone that is going to have a very long career:

“Hänlyn, aka Maddy Haenlein, has taken time out of her afternoon to catch up at a pub in central London for a chinwag over a pint. She sips on her Guinness contently, feeling better after a nasty infection earlier in the week. But also coming in armed and ready with the prospect of new music, a run of live shows in April and a festival slot alongside the legendary Iggy Pop this Summer, her drink is sure to taste that extra bit sweeter.

“I feel really happy with how things are working out,” says Hänlyn as she reflects on her musical journey to date. She first cropped up in 2021 with her distinctively brooding vocals marking her adrift from her contemporaries.

PHOTO CREDIT: Brennan Bucannan

The buzz around Hänlyn has only grown since. Her debut EP Slugeye gained her critical acclaim and this month she deliver its follow up Head of the Love Club. It’s a bold new body of work which showcases an evolving artistic persona with depth, vulnerability and a brazen edge that’s characteristically ‘Gretel’. Most of all, it’s a statement that showcases just who Hänlyn is.

“I wasn’t trying to please any majority,” Hänlyn assures. “A lot of the time during recording, I was messing around with different vocal lines and styles that made me go ‘eugh, I hate that, let’s do it!’. It’s often the things that are ugly and a little too honest that resonate with people rather than nice, romanticised lyrics. They’re the kinds of things that make people think about what’s going on in their lives.”

Hänlyn’s capacity to confront challenges in her own life as a 20-year-old adult has been resolute. As a teenager, she went through an illness which impacted her muscle growth. This particularly affected her diaphragm, meaning that she had to learn how to sing all over again. “Emotionless” is how Hänlyn says she felt during that time and the numbness she experienced then continues to pervade her today.

PHOTO CREDIT: Brennan Bucannan 

“This is a little heavy, but I remember the time when I’d just finished my GCSEs, my mum sat me down and she told me that she had cancer," Hänlyn explains. "I didn’t feel a thing. Nothing happened inside of me. A few weeks ago, my aunt died. When I was told that, I didn’t feel a thing. It’s so weird. It makes me think like ‘what is wrong with me?’ But I think music is how I process emotions. I don’t get that catharsis without having processed it through a song first.

That cathartic release sprawls across Head of the Love Club, which fuses elements of Gothic fantasy influenced by her background in short horror stories with searing doses of introspection. From energetic lead singles like “Drive” to more pensive moments like “Little Vampire”, as well as the gloriously abrasive title track, there are a diverse range of soundscapes which paint the EP in a myriad of eerily dark and colourful tones. “When I go into a song, I don’t want there to be a reference track of what it sounds like,” says Hänlyn. “I had a clear idea of what of what I wanted and what I feel would impress me as a listener, which was how I approached the project.”

Her latest material has been essential for her to compose: “During the time when the majority of Head of the Love Club was written, I had quite a strange and unique relationship with someone who was a lot older than me,” she says looking down slightly nervously. “There was quite a strange dynamic; for around a year, I found myself being so confused and obsessed with this person that I felt powerless, like a little girl. So, a lot of the EP is me reflecting on that relationship and often how tiny it made me feel”.

There are two big albums to end up with. Following her award-winning 2021 debut album, Collapsed in Sunbeams, we are now going to get the anticipated My Soft Machine. This is an album that I suggest everyone pre-orders. It looks like it will another hugely successful and accomplished album from one of our finest and most important artists. Arlo Parks is truly sensational. Here are details of her second studio album:

“Twice Grammy-nominated, Mercury Prize and Brit Award-winning artist Arlo Parks is returning with her second album, My Soft Machine on Transgressive Records. My Soft Machine is a deeply personal body of work; a narration of Parks’ experiences as she navigates her 20’s and the growth intertwined. Explained ever-articulately in her own words below...

“The world/our view of it is peppered by the biggest things we experience - our traumas, upbringing, vulnerabilities almost like visual snow. This record is life through my lens, through my body - the mid 20s anxiety, the substance abuse of friends around me, the viscera of being in love for the first time, navigating PTSD and grief and self sabotage and joy, moving through worlds with wonder and sensitivity - what it’s like to be trapped in this particular body. There is a quote from a Joanna Hogg film called the Souvenir, it’s an A24 semi-autobiographical film with Tilda Swinton - it recounts a young film student falling in love with an older, charismatic man as a young film student then being drawn into his addiction - in an early scene he’s explaining why people watch films - “we don’t want to see life as it is played out we want to see life as it is experienced in this soft machine.” So there we have it, the record is called....My Soft Machine.” - Arlo Parks”.

Let’s finish off with the upcoming album from Sparks. The brilliantly-named The Girl Is Crying in Her Latte arrives on 26th May. From the L.A. siblings Ron and Russell Mael, you just know that this is going to be a real treat. Sparks are one of the most consistent groups (duos, technically) in music history. Their endurance and constant sense of invention is truly amazing. Their new album sounds terrific:

“Sparks release their hugely anticipated 26th studio album, The Girl Is Crying In Her Latte via Island Records. The LP marks Sparks’ first release on the venerable Island Records label in close to five decades, following such classics as 1974’s landmark Kimono My House, highlighted of course by the indelible hit single ‘This Town Ain’t Big Enough For Both Of Us’. The new album is described by Ron and Russell Mael as a record that is “as bold and uncompromising as anything we did back then or, for that matter, anytime throughout our career.” The album includes such instantly intriguing new musical vignettes as ‘Mona Lisa’s Packing, Leaving Late Tonight’ and ‘Nothing Is As Good As They Say It Is’, songs which once again display Sparks’ seemingly ceaseless ability to craft complete, intricately detailed stories within perfect three-and-a- half minute pop masterpieces. Both characteristically timeless and unequivocally modern, The Girl Is Crying In Her Latte once again affirms that, after more than a half century making such masterpieces, Sparks remain inimitable, ingenious and, as ever, utterly one of a kind”.

If you need other album tips, there are some more here, but the ones I have suggested and outlined are well worth thinking about. Huge releases from Sparks, Paul Simon, and Arlo Parks sit alongside treasures from Madison McFerrin, and BC Camplight. If you need some guidance as to which May-due albums are worth pre-ordering, then I hope the above…

WAS of assistance.

FEATURE: Inspired By… Part Ninety-Five: Adele

FEATURE:

 

 

Inspired By…

PHOTO CREDIT: Charlotte Wales for THE FACE

 

Part Ninety-Five: Adele

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THERE are a couple of reasons…

why Adele is now up in Inspired By… It has been an oversight until now but, on 5th May, she turns thirty-five. Ed Sheeran titles his albums with mamthmet6ic symbols (+, % etc.), and Adele of important birthday milestones. You wonder whether there will be a remix album or something where you mix their albums together to come up with a sum! Anyway, 2021’s 30 is the most recent album from the London-born artist. As her thirty-fifth birthday is not far away, I wonder whether the next album will mark that occasion? 25 (2015), 21 (2011) and 19 (2008) came before. Now, with a big birthday ahead and so much changing in her life since she was thirty (in 2018), one wonders what her next chapter will explore. I might do another feature ahead of her birthday. Now, because is such an influential artist, it is high time I put her in Inspired By… Before I get there, AllMusic provide a detailed biography of the legend:

“Weaving classic soul, confessional songwriting, and pop polish, English singer Adele became a global phenomenon in the 2010s, breaking records and collecting accolades along the way with her powerhouse vocals and all-too-relatable songs. Beginning with her 2011 sophomore set, 21, no singer could compare in terms of sheer sales or stardom and Adele existed in a different stratosphere than her British or American peers, selling tens of millions of albums at a time when many musicians struggled just to get to a million. The key to Adele's appeal lay in her sly, subtle execution, first heard on her 2008 debut LP, 19 (named, like her subsequent albums, for her age upon the time of its creation), and its U.K. Top Ten single "Chasing Pavements." However, it was 21 and its hit singles "Rolling in the Deep," "Someone Like You," and "Set Fire to the Rain" that established her as an artist of a generation. In 2015, she continued to break records with her third effort, 25. Ushered in by the global smash "Hello," the set became the best-selling album in the world in 2015, staying at number one in the U.S. for ten consecutive weeks and taking home Grammy Awards for Album of the Year, Best Pop Vocal, Record of the Year, Song of the Year, and Best Pop Solo Performance. After an extended break, she returned in 2021 with her fourth LP, the aptly titled 30, which again proved a Brit Award- and Grammy-winning global chart-topper, paving the way for her first Las Vegas residency.

Born in London in 1988, Adele Laurie Blue Adkins first made an impression in 2006 when her demo landed her a deal with XL Recordings. She toured as an opening act for Jack Penate, and graduated to headlining status by the end of 2007, thanks to BBC Radio 1 playing her single "Daydreamer"; another song, "Hometown Glory," was also released as a single on Jamie T.'s label Pacemaker. An appearance alongside Paul McCartney and Björk on the BBC 2 television show Later with Jools Holland came next, and a recording contract with XL Recordings was finalized soon afterward. Early 2008 brought similar luck as Adele found herself atop the BBC's new music talent list, which was compiled from the votes of 150 music critics. That same January, XL issued a new single, "Chasing Pavements," along with her first album, 19. The title reflected Adele's age at the time of the record's release, and its popularity resulted in the release of several bonus editions throughout the year. In 2009, she won Grammy Awards for Best New Artist and Best Female Pop Vocal Performance.

Her sophomore album, 21, featuring the gospel and disco-infused single "Rolling in the Deep," was released in February 2011. The set proved to be both a critical and commercial success, becoming one of the longest-running number one albums in history and spending over 18 weeks at the top spot. The glow of 21's success was dimmed somewhat when Adele was forced to cancel her tour after suffering a hemorrhage on her vocal cords, undergoing surgery for the ailment in November 2011. That same month, she released the concert CD/DVD Live at the Royal Albert Hall. Both Adele and 21 received many end-of-year honors, and in February 2012, as album sales began to creep closer toward ten million copies, she won six major Grammy Awards, one of the few artists in history to accomplish the feat in one night.

In October 2012, Adele announced that she had recorded the theme to the 23rd James Bond film Skyfall. Produced by Paul Epworth and recorded at the prestigious Abbey Road Studios, the single entered the Top Ten of both the U.K. singles chart and the Billboard Hot 100 upon its release. By early 2013, 21 had registered sales of over 25 million copies. Although she promised she was in the early stages of creating her third album, 2013 and 2014 came and went without fresh material.

In mid-2015, reports of an imminent third album started to surface, and the rumors were confirmed in October by Adele and her label. Its first single, "Hello," debuted at number one in both the U.K. and U.S., becoming the first song to sell over a million downloads in its first week of release. 25 debuted worldwide in late November 2015 and broke the single-week U.S. sales record previously held by *NSYNC's No Strings Attached. 25 went on to top the Billboard 200 for ten weeks and took home Grammy Awards in 2017 for Album, Song, and Record of the Year, as well as Best Pop Solo Performance and Pop Vocal.

Following several years of relative quiet, Adele resurfaced in October 2020 to host an episode of Saturday Night Live. A year later, she issued the single "Easy on Me," the first offering from her fourth album, November 2021's 30. Featuring production input from familiar faces Greg Kurstin, Max Martin, Shellback, and Tobias Jesso, Jr., 30 also welcomed Ludwig Goransson and Sault's Inflo (Michael Kiwanuka, Little Simz) for a mature and graceful set that focused on themes of separation and parenthood. The album topped numerous global charts (including in the U.K. and on the Billboard 200) and took home the Brit Award for British Album of the Year and the Grammy Award for Best Pop Solo Performance for "Easy on Me." Although delayed due to COVID-19, in November 2022 the singer also launched her live Las Vegas residency, Weekends with Adele, held at The Colosseum at Caesars Palace”.

To showcase the influence of Adele – and mark her upcoming thirty-fifth birthday -, below is a playlist of songs from artists who are inspired by her. I can hear her impact when I hear the music of artists coming through. It is clear how important she is. A titan of modern music. Her impact and influence will reign and continue for…

MANY years to come.

FEATURE: We’ve Got a File on You: Blur’s Think Tank at Twenty

FEATURE:

 

 

We’ve Got a File on You

  

Blur’s Think Tank at Twenty

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THE seventh studio album from Blur…

was one that sort of signalled a new direction and sense or reinvention - but, also, it could be the last thing we heard from them. Because Think Tank was released on 5th May, 2003, I wanted to celebrate its upcoming twentieth anniversary. It is amazing that Think Tank is so cohesive and extraordinary. If some critics gave it mixed reviews when it came out, there was reason or that. Guitarist Graham Coxon was being treated for alcoholism. At the start of the sessions, one of their major forces was not getting on with the band. Coxon did re-join Blur was their follow-up album, 2015’s The Magic Whip (which is also their most current album). It is the only Blur album without Coxon. A lot of Blur’s brilliance stemmed from Coxon’s guitar brilliance and songwriting. Maybe because of that, Think Tank leans more heavily on genres like Jazz, Electronic, and influences of African music. The band’s lead, Damon Albarn, expanded his musical palette. With sessions beginning in November 2001, it was split between London, Morocco, and Devon. Produced by Ben Hillier with additional production by Norman Cook (Fatboy Slim) and William Orbit, I think that Think Tank is one of Blur’s top three albums. Maybe the third spot, but it is one that pushes away from the more guitar-driven sound they were working with up until and including 1999’s 13. That was four years before a completely different-sounding album. In 2000, the greatest hits album was released. It seemed like a point to look back and celebrate this band who put out their debut album, Leisure, nine years earlier. An album that discusses peace, an anti-war stance and love, there is something blissfully together and embracing when it comes to Think Tank. I love how there are so many textures and sounds running through the album.

Graham Coxon does feature on one song: Battery in Your Leg. Many felt that a Coxon-less Blur was missing something weighty and definitive. Maybe a little lacklustre and damaged because of his departure, others felt Damon Albarn was running amuck and using the opportunity to dominate. It is clear that Coxon’s loss is big, but Think Tank succeeds and adapts wonderfully. It is not the same as previous albums, but I think it is more focused and satisfying than 13, Leisure, The Great Escape, The Magic Whip and even Modern Life is Rubbish. Whilst Parklife will always be king, and the 1997 eponymous album is very special and gets the runner-up place, Think Tank deserves that bronze medal. Twenty years after its release, I don’t think it is discussed and explored as much as it should be. From the sublime opener, Ambulance, to the haunted Battery in Your Leg, there is not a weak moment! The weirdness of Crazy Beat sits easily against the aptly-named Sweet Song and Good Song. We’ve Got a File on You is sixty-three second thrash of paranoia and silliness. On the Way to the Club and Moroccan Peoples Revolutionary Bowls Club see Blur doing something they have never done in terms of sound and direction. Jets is a long song, but it is one that draws you in and earns its place. My favourite song on the album, Caravan, is gorgeous and puts your mind in the Moroccan desert.

I want to bring in a couple of reviews soon. Before that, and providing some backdrop on Think Tank and the disruption and changes Blur faced in the ranks, Albumism celebrated fifteen years of Blur’s seventh studio album in 2018. Think Tank is such a rich listen where Damon Albarn, Dave Rowntree and Alex James are from alone! Joined by some incredible session musicians, they are given these extra layers and colours that means you have a wealth of wonder and diversity to behold:

“The meteoric rise and rule of Britpop in the 1990s could be aligned with the reign of its greatest sons, Blur. The four puckish boys—Damon Albarn (lead vocals/keyboards), Graham Coxon (guitar/backing vocals), Alex James (bass), Dave Rowntree (drums)—formed in 1988 in London. Out of their union came Leisure, their 1991 debut LP. Five more albums followed—Modern Life is Rubbish (1993), Parklife (1994), The Great Escape (1995), Blur (1997), and 13 (1999)—yielding an endless stream of hits, sales and renown. Then suddenly, the Britpop bubble popped. Blur, wisely, sensing the shift in public sentiment toward the rock sub-genre they helped build issued a customary singles retrospective in 2000 and went quiet for a moment.

In that space of time, the quartet split off to pursue personal and artistic endeavors. Most notably, Albarn founded Gorillaz with digital artist Jamie Hewlett. The outfit’s inaugural effort Gorillaz was released in March of 2001 to acclaim and newfound notoriety for Albarn. However, in the second half of that same year, Blur reconvened to discuss a new record and its intentions.

Think Tank, Blur's seventh album, was an appropriate title as the effort was to serve as a space for all four members to come together and brainstorm about how to move the Blur brand forward into a new decade. There were complications ahead for Think Tank though. Coxon's battle with alcoholism had come to a head and led to his inability to commit to Think Tank. Friction between Coxon and the three Blur men ensued. Excluding his contribution to “Battery in Your Leg,” Coxon stepped away from the project, entering a rehabilitation center to treat his illness. He wouldn’t rejoin Blur until 2015's The Magic Whip.

Down to a trio for the first time, Albarn, James and Rowntree were united by the struggle born out of Coxon's departure. Written and recorded in studios in Devon, London, and Marrakesh, the musical and lyrical treasures of this collection are vast. Musically, with production aid from Ben Hillier, William Orbit and Norman “Fatboy Slim” Cook, Blur infuse their already rhythmic rock stylings with club, jazz, dub and worldbeat motifs.

A part of Blur's appeal at their zenith was that they never stood totally still within the Britpop framework that they defined. Demonstrable risks, like Parklife's pseudo-dance-punk homage “Girls and Boys,” were immediate examples of this. The difference with Think Tank is that it sought to expand their experimental appetites across the entire span of an album, not just limit them to a few tracks.

Blur augmented their band sound with a wealth of session musicians, but they kept their hands on the record's reins as heard in the respective exercising of the trio's abilities as songwriters, arrangers, producers and instrumentalists. James' bass pumps and prowls on every cut on Think Tank, but the album's rousing and filmic opener “Ambulance” and the lolling groover “Good Song” really show off his chops. Alongside James' bass lines are Rowntree's own familiar drumming patterns, notably active on the biting, punky “Crazy Beat.” But things get really interesting in listening to Rowntree sitting among the miscellany of other percussionists employed for the LP—their unification births the smooth and smoky “Out of Time,” later elected as the set's first single.

Lyrically, the songs alternate between the supposedly dichotomous subjects of romance (“Sweet Song”), anti-war pieces (“Good Song”), informal social commentary (“Brothers and Sisters”) and more. Regardless, all of the songs here are soaked in Albarn's sexy, woozy croon that, effectively, mesmerizes the listener, driving him or her to dive deeper into the depths of Think Tank's contents”.

There are a couple of reviews that are not that kind. There are plenty of positive ones. I do think there has been a lot or re-evaluation and revision since 2003. Maybe there was this negativity towards Blur continuing without Graham Coxon in the fold. That said, many publications named it among their favourite albums of 2003. This is what NME wrote in a review from 2005:

“Due to some weird accident of timing, we’re currently getting a masterclass on how – and how not – to sustain a long career in pop. Jarvis is back under new (dis)guise Relaxed Muscle, Radiohead return with an album that disappointingly occupies the same musical space as the last two, Oasis bestride the world like an arthritic Colossus and then there’s Blur.

They’ve always known the value of keeping one step ahead, of having a new ‘concept’ for each record, which has always made them objects of suspicion by the rock authenticity police. This time, however, change has been forced on them by the departure of Graham Coxon, and the ‘concept’ is not Damon’s daughter (as Justine Frischmann once tartly claimed it would be – actually, maybe that was Gorillaz) but Africa and anti-stardom.

Now that Gorillaz have sold millions of records without Damon even having to show his face, Blur claim to be disdainful of the pop process, of presenting themselves as personalities. This makes sense when contrasted with inescapable pop trasherati like Victoria Beckham, and the fact that Blur are no longer the fresh-faced sex symbols of yore. But it’s really no different from attitudes of snooty Seventies prog rockers, who thought the normal pop modes of communication (being on Top Of The Pops, releasing singles) were somehow beneath them. So ‘Out Of Time’, their most straightforwardedly touching single for ages, has a video Blur don’t even appear in, two gorgeous ballads are given the dismissive titles ‘Good Song’ and ‘Sweet Song’ and the album opens with ‘Ambulance’, which on first listen sounds exactly like something from David Bowie‘s dreadful ‘Heathen’. “We could have made a pop album,” Blur seem to be saying, “but that would have been too easy.”

Sigh. But despite Damon removing two “potential radio smashes” from ‘Think Tank’ because they “didn’t fit in” (because he was saving them for Gorillaz, more like), it’s still accessible and enjoyable despite, you often feel, the intentions of its creators. While ‘Jet’ is toe-curling free-jazz toss and the Norman Cook-assisted ‘Crazy Beat’ sounds like four old yobs making an exhibition of themselves in a disco, Norm’s other track ‘Gene By Gene’ is an effortless pop gem (with a title which probably doesn’t refer to Liam Gallagher’s youngest child). Then there’s the summery, Arabian side of the album, with ‘Caravan’ and ‘On The Way To The Club’ both luxuriating in the kind of grace and mystery which dissolves cynicism on impact.

Blur’s “and this is me” moment is the closing ‘Battery In Your Leg’, the only song still featuring Graham Coxon (‘Blur featuring Graham Coxon’ – how R&B). “I’ve got nothing to rely on/I’ve broken every bone,” sings Damon frailly, as Graham chimes out the saddest-sounding guitar riff ever, so loud it obliterates the singing. It’s a hugely apt and moving epitaph.

God knows what will happen next – there’s certainly no sense of urgency and ambition in Blur themselves. Yet against the odds, ‘Think Tank’ is a success, a record which might not mean much to Strokes fans but which shows Blur’s creative spark is undimmed even while their stomach for the pop fight fades. After all this time, they still demand to be heard”.

I am going to round things off with a review from Pitchfork. There is a lot of focus on Damon Albarn and Graham Coxon. Maybe seen as the two leaders and most important members in the band, Think Tank is actually made stronger and defined by Alex James and Dave Rowntree. Their incredible instinct, musicianship and interaction is key when it comes to Think Tank’s wonderful depths and extraordinary moments. They create so much nuance and groove:

“Which brings us to Blur and their long-developed Think Tank, recorded in Morocco without founding guitar icon Graham Coxon. Rock 'n' roll precedent begs certain questions. Will the loss of Coxon equate to the loss of Brian Jones (or Mick Taylor) or a hypothetical loss of Keith Richards? Will Think Tank be another Cut the Crap, The Final Cut, Dr. Byrds and Mr. Hyde, Carl and the Passions (So Tough), Good Stuff, And Then There Were Three, Wake of the Flood, Mag Earwig, Stranded, One Hot Minute, Face Dances, Standing on the Shoulder of Giants, Other Voices, Squeeze, Muse Sick-N-Hour Mess Age, Ultra, Drama, Slow Buildings, Road Hawks, Now and Them, or Chinese Democracy? Or more along the lines of Sticky Fingers, Back in Black, XTRMNTR, Adore, Up, In the Studio, Movement, Everything Must Go, Soft Bulletin, Power, Corruption & Lies, First Step, Damaged, Green Mind, This Is Hardcore, Coming Up, Full House, and ...And Justice for All?

With the exception of a year back in 1995, Blur have never rested on their laurels. Unlike their peers, they've delivered each album dipped in a drastic new element while keeping a consistent melodic heart. Albarn has always taken his shots, and thirteen years on seems to savor the challenge. Take, for instance, 2002's Mali Music, his rich, ethereal solo equivalent to Brian Jones' The Pipes of Pan at Joujouka: not content to simply document the musical heritage of the locals, Albarn stepped in alongside Afel Bocoum, protegé to Ali Farka Toure, humming his melodica during Niger-side jams and later reassembling the results in London as a montage of British-pop sensibilities with post-production special effects and punches of guitar, bass, and keyboard. The ambience and dust of the Malian excursion settles heavily over Think Tank, and notably, Albarn seems to have picked up more guitar skills from Bocoum than Coxon. The majestic, snaking "Out of Time" relies less on the lugubrious, Gibraltar-docked solo than the vast, four-dimensional environment surrounding it. One gets the sense that even if Graham Coxon had caught the flight to Marrakesh, Think Tank wouldn't have turned out much different.

Of course, all this focus on Damon and Graham discredits Alex James and Dave Rowntree, who really push Think Tank through the sand. The two both preempted the critics by perfectly describing the new music in interviews. James claimed Think Tank "has hips," while Rowntree simply said it's most similar to Parklife. James goes the furthest in giving Blur hips, beyond often posing with his protruding-- with the focus off Coxon, his brilliant bass playing will finally be seen as the vital element in Blur. It gave "Girls and Boys", "Parklife", "Coffee and TV", and "Song 2" their major hooks, while Graham hammered away on minimal riffs. If you're air-playing anything along to those tracks, it's the air-bass you're wriggling your index and middle fingers to. Likewise, Think Tank is laden with creative bass leads.

Like being plopped down in Morocco for the first time, or Covent Garden for that matter, Think Tank takes some reorienting. To answer the questions posed earlier, the album is laughably miles better than every album on the first list, and surprisingly better than, or just as good as, every single one on the other. But don't just judge it as an album by a band coming off a major line-up change. You won't need to”.

On 5th May, Blur’s Think Tank turns twenty. Many assumed that it would be quits for them after the album was released. Their next studio  album did not arrive until twelve years after Think Tank. The band are playing a very special show at Wembley Stadium on 8th July. They are strong and together after all of these years. There are no plans for them to follow-up The Magic Whip. The four members have busy live. Damon Albarn always has music coming out! Dave Rowntree released a solo album earlier this year, Radio Songs. Graham Coxon has released solo material. With his wife and fellow musicians Rose Elinor Dougall, they are The WAEVE. Their eponymous album is among the year’s best. Like Radiohead, if the busy band members come together again, it might not be for a while yet. I also have another Blur album feature coming soon, as Modern Life Is Rubbish turns thirty on 10th May. In pite of Graham Coxon missing from the band and there being this sense of having to quickly refocus and reconfigure for their seventh studio album, Think Tank stands up as…

A glorious revelation.

FEATURE: Also Known as Rolling the Ball… Kate Bush’s Them Heavy People at Forty-Five

FEATURE:

 

 

Also Known as Rolling the Ball…

 IN THIS PHOTO: Kate Bush performing Them Heavy People during her 1979 Christmas special/PHOTO CREDIT: Getty Images

 

Kate Bush’s Them Heavy People at Forty-Five

_________

I have assessed this song a few times before…

but it is coming up for an anniversary, so I wanted to look it once more. Released as a single in Japan on 5th May, 1978, Rolling the Ball reached number three. The actual title of the song is Them Heavy People, and it appeared on Kate Bush’s debut album, The Kick Inside. That turned forty-five in February. One of two Japanese singles released from the album (the other being Moving), I am going to refer to the song as Them Heavy People throughout, as that is the actual title, and the one that most people associate with it. The reason it is called Rolling the Ball as it is a refrain from the song. These words open the song, so it is understandable why the Japanese market would chose that title. Also, they might not understand what the word ‘heavy’ would mean in the context of a song that deals more with philosophy and learning, rather than any weight or feeling of oppression. The Kate Bush Encyclopedia references an interview where Bush discussed the meaning behind Them Heavy People:

“The idea for 'Heavy People' came when I was just sitting one day in my parents' house. I heard the phrase "Rolling the ball" in my head, and I thought that it would be a good way to start a song, so I ran in to the piano and played it and got the chords down. I then worked on it from there. It has lots of different people and ideas and things like that in it, and they came to me amazingly easily - it was a bit like 'Oh England', because in a way so much of it was what was happening at home at the time.

My brother and my father were very much involved in talking about Gurdjieff and whirling Dervishes, and I was really getting into it, too. It was just like plucking out a bit of that and putting it into something that rhymed. And it happened so easily - in a way, too easily. I say that because normally it's difficult to get it all to happen at once, but sometimes it does, and that can seem sort of wrong. Usually you have to work hard for things to happen, but it seems that the better you get at them the more likely you are to do something that is good without any effort. And because of that it's always a surprise when something comes easily. I thought it was important not to be narrow-minded just because we talked about Gurdjieff. I knew that I didn't mean his system was the only way, and that was why it was important to include whirling Dervishes and Jesus, because they are strong, too. Anyway, in the long run, although somebody might be into all of them, it's really you that does it - they're just the vehicle to get you there.

I always felt that 'Heavy People' should be a single, but I just had a feeling that it shouldn't be a second single, although a lot of people wanted that. Maybe that's why I had the feeling - because it was to happen a little later, and in fact I never really liked the album version much because it should be quite loose, you know: it's a very human song. And I think, in fact, every time I do it, it gets even looser. I've danced and sung that song so many times now, but it's still like a hymn to me when I sing it. I do sometimes get bored with the actual words I'm singing, but the meaning I put into them is still a comfort. It's like a prayer, and it reminds me of direction. And it can't help but help me when I'm singing those words. Subconsciously they must go in. (Kate Bush Club newsletter number 3, November 1979)”.

A song that many fans would recognise, but not one that you hear played on the radio (that applies to most of Bush’s catalogue it seems!), I wanted to revisit one of her moments. One of the standout tracks from The Kick Inside, there is so much to love about Them Heavy People. A song that does speak about truth and knowledge, maybe it was a bit intellectual and inaccessible to some during a time of Punk. In 1978, there was nobody like Kate Bush, singing about the sort of things she was. It is understandable that she felt it should be a single, and I am glad that it was released in Japan and did really well. I disagree that the album version is weak or should be looser. It might seem too live-sounding if it was, and the album version is punchy and memorable. Them Heavy People was performed live quite a few times. It soundtracked a Seiko advert Bush was a part of in Japan. She performed it when opening a Dutch theme park. It was also performed on T.V. and numerous times during The Tour of Life in 1979. I always felt that it should have been included on her 1986 greatest hits album, The Whole Story. It is another reason why we need another greatest hits album or collection of her best work. It is always a pity that Them Heavy People didn’t get a music video. Well it did, but it was a live version of the song. It would be interesting to see what would have come to light if something scripted were filmed. That live version was her during 1979’s The Tour of Life. The lead single from the On Stage E.P., I never really classify it as an official U.K. single. I always think of Them Heavy People as being a Japan-only release. In any case, she did release it here on 31st August, 1979, where it got to number ten.

I do also love the different ways the song was portrayed live. In terms of Bush’s clothing, she performed it on BBC’s Saturday Night at the Mill in Eastern/Japanese-inspired wear (a kimono of sorts). Introduced by Peter Cook, she performed it on Revolver in smarter, more formal wear. For her 1979 Christmas special, she was more casual and boho. She wore similar wear for the music video version, but she also performed the song in the U.S. for Saturday Night Live (her only performance for them). This song about religion and Bush trying to learn as much as she could when she was young, it is a very mature and perceptive song from someone who was fresh in her career. Bush grew up around music, and her brother John is a superb and acclaimed poet. I suspect that some of his words and talents inspired his sister. She was an incredible poet herself, and it is always amazing she was writing such advanced and deep songs as a teenager! The studio version features Stuart Elliott on drums, David Paton on the bass, Kate and her brother Paddy doing backing vocals. The late Ian Bairnson provides guitar. His incredible guitar work can be heard through The Kick Inside. It is especially memorable and epic on Wuthering Heights. It is so sad that he is no longer with us. A song that was released as a single in Japan almost forty-five years ago, I was eager to mark the anniversary. On 5th May, 1978, the Japanese market received this treat. In June, to promote the single, The Kick Inside, and get her music better known there, she visited the country. It remains one of the most extraordinary and unusual moments in her career so far. Aside from the Seiko advert, on 18th June, she performed Moving to an audience of 11,000 people at the Nippon Budokan for the 7th Tokyo Music Festival. That single was released in Japan in February, 1978, so she did have a fanbase and visibility there. The majestic and knowledge-seeking Them Heavy People may be forty-five, but it is as mesmeric and important now as it ever was. It is a fabulous and captivating song from…

THE queen of music.

FEATURE: It Would Be, It Would Be So Nice: A Final Look Inside Madonna’s Celebration Tour

FEATURE:

 

 

It Would Be, It Would Be So Nice

  

A Final Look Inside Madonna’s Celebration Tour

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IT must be tough…

 PHOTO CREDIT: Nina Westervelt/Getty Images

preparing for an exhaustive tour that takes you all around the world. This is true of any artist but, when you deliver the kind of shows that Madonna has through her career, maybe that expectation and sense of scale is a lot larger and more daunting than it is for most. I am going to write other Madonna features through the year but, when it comes to her Celebration Tour, this might be the last one. She starts out on 15th July in Vancouver, and the tour runs right through to 27th January, 2024, at the Palacio de los Deportes in Mexico City. It is a long tour that will see Madonna travel around the world. Even though there have been newspaper reports that Madonna has been feeling the strain when it comes to physical preparations, that is to be expected. She is someone who wants things to be perfect, and so many of her songs are very physical and intense. After a lot of rehearsal and drilling, it must be exhausting and painful. This is Madonna’s first worldwide tour for a while, so it is just a case of music memory. A lot of the media have been throwing around jibes about her age (Madonna is sixty-four) and whether she is ‘too old’ to be performing or pretending that she is the artist she was in her twenties – which, at no stage, has she been trying to do. The truth is that Madonna has incredible vitality and strength, and it is going to be a tough series of shows from a physical and emotional perspective. With that love and energy from the audiences each night, there is also the demands that come with mounting and executing a huge set.

There will be a lot of media eyes on the tour. I am not sure whether there are going to be tour diaries or an official documentary around the Celebration Tour, but I am sure there will be a live album at some point (her 2009 greatest hits album, Celebration, might be a starting point when it comes to the setlist). Part of the point of the tour is to mark forty years of her hit, Holiday. From her 1983 debut album (which is forty in July), that song came out in September 1983 - and it remains one of her most-loved classics. This is a celebration of her forty-plus-year career. New dates have been recently added, but I wouldn’t be surprised if the tour ran even further! It is going to be a huge undertaking for Madonna and her crew, but it is also going to be a chance for fans new and diehard to show their respects to their icon. Madonna discussed the tour with Vanity Fair earlier in the year. She also talked about her biopic. That has now been very much put on hold. I think the explanation was that the script offered to Madonna (who was to direct) was not gritty or raw enough. Maybe a little conservative or safe. Also, in a year where she needs to channel all her focus to a tour, a biopic could not realistically start production until this time next year. Maybe it will come back to the spotlight – let’s hope so at least. I think that the setlist and stage will be the most extensive and ambitious of Madonna’s career. It could well be her final tour. Whilst she has been photographed in the studio working on new material, perhaps it for a single rather than a whole album. Again, you would imagine her mind and full focus is going to be on the tour.

On that front…one imagines what the set will look like. The Celebration Tour is pays tribute to her four-decade career. It also pays homage to the city of New York. This is where her career in music began. I can envisage cityscapes and street settings. Maybe there will be this chronological take, where she starts by performing songs from her debut album and then it builds to her most recent work, Madame X (2019). I am not sure whether all of her studio albums will get a look in, but there will be special focus on her 1983 debut. At the moment, there are rehearsals and planning. Making sure the dancers and crew are in sync. With less than three months until the first date, it is going to be a time where everything is getting more real and ramped up. It will be interesting to see whether Madonna recreates sets and looks from previous tours like The Blond Ambition World Tour of 1990, or whether she will create whole new looks and sets. There will be plenty of surprises through the set. But many are going to ask what the setlist contains. It is tough to narrow it down – give the extent of her career and how many songs she has been on -, but I think there will be a weighting on the best-known hits, rather than too many deep cuts or unexpected tracks. Whatever does happen, things are being put into place at the moment.

Aside from all the press poison and those who wonder why Madonna is touring, this is a big moment for music in general. Undoubtedly one of the most important and influential artists ever, Madonna is throwing the biggest celebration this year. Forty years since her eponymous debut and the Holiday single, it is going to be a real thrill for the fans!  As you can see from her Instagram, things are starting to move. The photos and videos look amazing. It is clear that, after all of these years, Madonna still gets a real thrill and buzz from taking to the road and performing for the fans. Not only is the Celebration Tour a chance to mark anniversaries and play one of Pop music’s finest catalogues. It s testament to the fact that Madonna has this incredible endurance and endless importance. Fans want to see her on the stage, and we are going to get albums from her for years to come. Over forty years since she started out, here is this career that is still so alive and fascinating! It will give heart and impetus to a lot of other artists out there who wonder whether it is possible to sustain such a long career. Maybe Madonna is an exceptional example, but she will doubtless give a big kick and nod to those coming through. With six months of dates in the diary so far, who knows how much longer the Celebration Tour will last. The fans want to see Madonna perform and, whilst it will be physically demanding, she is up to the task. It all starts on 15th July at the Rogers Arena…

IN Vancouver.

INTERVIEW: Electric Pets

INTERVIEW:

 

Electric Pets

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ONE of the finest rising bands around…

Electric Pets hail from Derby and consist of Emma Buckley, Phil Wagg, Pete Darrington and Adam Grace. The band burst on to the U.K. music scene in the spring of 2022, releasing four singles and two E.P.s via the Reckless Yes label. In a very brief time, they have become firm favourites of BBC Introducing, having just recorded a live session for them, as well receiving airplay from the legendary John Kennedy on his Radio X show, Xposure. Their amazing new single, Elephant Can Swim, is out in the world, and I was keen to know more about it, in addition to how the band formed and what comes next. Guitarist Phil Wagg reveals more about a wonderful new cut, how the quartet found one another, and what the future holds for the sensational band. They mix darker Pop elements with a hypotonic and swaggering Garage Rock sound. I know Emma Buckley through her previous solo work, but Electric Pets are an exciting new band to my ears that I instantly connected with. Wagg discusses the music scene in Derby, why they are releasing a string of singles before the summer, and how it feels to have captured such a loyal and loving fanbase. If you have not discovered Electric Pets yet, then rectify that right away. They are a sensational band that are going to go…

 A mighty long way.

__________________

Hi Electric Pets. How are you? How has your week been?

Phil Wagg: Incredibly hectic, but in a good way, you know?

For those new to your music, can you explain how the group got together? Did you all have shared tastes in music?

Ha! Quite the opposite - and that’s what makes us work. Pete and Phil (Bass and Guitar/BVs) have been in bands together for a long time, try as they might to become the new Queens of the Stone Age. Emma (Vocals and Guitar) has been on a kinda solo Acoustic singer-songwriter trip since time memorial. And Adam (our superb drummer) is essentially Death Metal incarnate. But, of course, we all like all sorts of things. None of us limit our listening tastes or writing habits to one genre anymore. Completely sick of that nonsense.

If we have an idea, and it seems to want to point in certain direction, we don’t limit ourselves to say: “We can’t do that, that’s not us, what will ‘people’ think”.  That way ruin lies. It’ll either be the making or the breaking of us, i.e. this wonderful industry very much likes to pigeonhole acts into one or (max) two swim lanes. If the sum of your whole creativity can’t be described in one tiny soundbite, then ‘you don’t stand a chance’. We say, “fuck that”. The song is king, and we’ll let each song go where it needs to.

“But we have a wonderfully diverse, burgeoning, and fascinating music scene regardless of the fact that we are now sorely lacking in decent music venues locally”

You hail from Derby. It is an area of the world that is not spotlighted because of its music. Do you think more eyes should be on Derby’s music and live scene?

More eyes should be open to the fact that quality music, or art, or anything creative, doesn’t just come from the biggest (in terms of populace) two or three cities in any given country, i.e. the cities where the relevant industries seem to lazily base themselves (very) traditionally. It’s 2023. It’s a work from home, Internet culture now. Get with the programme, peeps. Does it really matter where anyone actually comes from or lives? Does that dictate whether or not they have a right to be successful or at least make a reasonable living from what they love to do and what they are good at? 

But, to answer your question specifically, you’re right. Few ‘hits’ have come from good old Derbados. But we have a wonderfully diverse, burgeoning, and fascinating music scene regardless of the fact that we are now sorely lacking in decent music venues locally. But adversity just makes you stronger, doesn’t it?

Tell me about your new single, Elephants Can Swim. What is the inspiration behind the track?

I was going through a particularly tough few weeks, and I had a chat with myself to lift me up out of my torpor. It’s essentially a conversation with myself; a kick up the arse so to speak. It’s a massive reminder to myself to just shake myself down and get on with it, when that kind of moment is needed. I.e. if elephants can swim, surely anything is possible, right?

 How does the new single differ in terms of sound and direction comparted to your previous work?

Elephants Can Swim is different, but we hope each of our songs if different from the next. It’s certainly more bombastic, in your face, and rawer than much of our other material. No room for subtlety, as such. But that’s exactly what was needed in the moment it was conceived? So in other words, it’s differences are what make it perfect for us. 

I understand you are releasing a string of singles from now to the end of summer. What brought that about, and can you give us a sneak peek regarding what future singles might be about?

Surprise, surprise: we don’t have lots of money, limitless studio time or a marketing budget ending in five zeros. So, whilst we actually have around two albums worth of material ready, we need to make every release count this year. Hence, the idea of drip-feeding singles out rather than gong whole hog into our first album, though that is on the cards for 2024 (exclusive!!! 😊). We’ll have another single out in June and the next in August. With another three ‘in the can’ between now and the end of 2023. The June single is one we are all very excited about…but more on that later.

It will lead to your debut album next year. Are you looking forward to people hearing that?

So, so much. I know new artists like us seem to have to focus on singles in this day and age, but we are very much cut from old cloth in that albums are God.

As Emma Buckley is your lead, it gets me to thinking about gender equality at festivals. There are still few booking female acts/female-led bands to headline. Do you think this will change, and have you faced any of this so far?

We truly hope it will change, and soon. The majority of the most exciting, challenging, and creative music released in recent months/years has been produced by female artists; surely, it’s only a matter of time? Fortunately, as Emma (as a solo artist) had already created a bit of a name for herself in certain circles, we have not yet personally experienced any prejudice - though we are no doubt that it exists out there.

“And with expectation comes great responsibility, and it is our plan to live up to that responsibility”

Are there going to be live gigs coming? Where can we see you play?

As I (Phil) type this, Emma is now eight months pregnant. So our last show for a little while was at the Bodega in Notts at the end of March '23. Our next two shows are in late-July at the Splendour and Y-Not festivals. Both of which we are super excited about.

You burst through about a year ago. In that time, you have racked up an army of fans, big streaming numbers, and attention from major radio stations. How does this make you feel?!

Oooof. Surprised, pleasantly? Grateful. Excited. Validated. But we are under no illusions. This is just the start. And with expectation comes great responsibility, and it is our plan to live up to that responsibility.

To finish, and for being a good sport, you can choose any song you like (other than your own) and I will include it here.

One of my favourite songs from the last few years is Shut Up Kiss Me by Angel Olsen. So that one please.

____________

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FEATURE: Revisiting… Mica Millar – Heaven Knows

FEATURE:

Revisiting…

  

Mica Millar – Heaven Knows

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I was due to see Mica Millar…

perform at London’s Jazz Café on 5th May. I am on holiday, so I will get to miss out on a night that is sure to be transcendent and hugely powerful. Whilst it is a bit of a loss and I am desperate to see her live, I have been spending a lot of time with her amazing debut album, Heaven Knows. Before looking at the album, I would advise anyone to go and book a ticket to see her play if you can. Not only one of 2022’s best debut albums, Heaven Knows was one of the best albums of 2022 full stop! Whilst it did get some good coverage and really positive reviews, it would have been nice to see some of the bigger publications, magazines and newspapers give the album a spin and review. The Manchester-based Millar (who you can follow on Instagram, and Twitter) is a wonderful musician, singer, songwriter, and producer who released a staggering album with Heaven Knows. I will get to some reviews but, from her official website, here is some more details about an album I would advise everyone to hear:

“Releasing her debut album 'Heaven Knows' to critical review earlier this year, Mica Millar has quickly become one of the UK brightest new Soul stars, picking up Jazz FM's prestigious 'Soul Act of The Year 2022' award alongside a nomination for 'Breakthrough Act of The Year' and featuring on the front cover of the iconic Blues & Soul Magazine amidst an array of five star album and live reviews and national radio support.

Following two monumental album launch shows in September including a sold out show at the capital’s prestigious Jazz Café and a special hometown performance filling out the iconic Albert Hall, Manchester, Mica is due to announce her UK and European 2023 tour very soon but in the meantime she’ll be performing at Jazz Voice, the opening gala of the EFG London Jazz Festival on November 11th at Royal Festival Hall with the backing of esteemed arranger and conductor Guy Barker (MBE) and the 42-piece Festival Orchestra, broadcast live on BBC Radio 3 and screening on BBC 4.

Self-written, arranged and produced, Mica's debut album ‘Heaven Knows’ explores themes of human nature, spirituality, love, oppression, inequality and empowerment, drawing inspiration from a plethora of vintage soundscapes, most notably, soul, blues, gospel and jazz.

The album’s initial recording sessions took place at Middle Farm Studios, in Devon with a tight-knit team who laid the foundations for this courageous debut. Alongside guitarist Miles James (Michael Kiwanuka, Tom Misch, Cleo Soul) were Jonathan Tuitt (Drums), Arran Powell (Bass), Marc Morrison (Piano) [members of Emile Sande’s live band], lead engineer Lewis Hopkins (who Mica cites as a mentor who was instrumental in teaching her about live sound recording and sonics in the early stages of the albums production) and assistant engineer and photographer Andrew Thomas (who Mica later captured the album's sleeve photograph taken in Manchesters Albert Hall).

Against all odds, ‘Heaven Knows’ was completed during a tumultuous time in Mica’s life. Not only having to adapt to the effects of COVID on the industry - shifting from studio sessions to remote recording under lock down restriction, a big enough feat in itself, but in 2020 Mica’s broke her back, narrowly escaping permanent paralysis from the waist down. In extreme pain and having to learn to walk again, all recording came to a halt and nine months on Mica found herself still recovering from her injuries, amongst which, her core muscles, formerly powering her ever present, soaring vocals, had deteriorated. But instead of giving up, Mica pushed through these challenges with determination, taking on rigorous rehabilitation and never losing sight of her vision for the album.

“I didn't want Covid or my accident to impact my vision for the record. In fact, the time in recovery and lock down allowed me to think bigger and better in the end and ultimately become a much more experienced producer. Working one on one with musicians remotely opened up new possibilities for collaborating with other musicians on the record - people I had always wanted to work with (particularly musicians in the US) and this was so important for being able to achieve both the performances and sonics I wanted for each song on the record".

Notably, the fourteen track debut has been mixed by multi-platinum Producer/Engineer Brian Malouf, known for engineering Michael Jackson’s Bad album and working with Motown legend Stevie Wonder amongst many other Grammy award-winning works. Completing mixing sessions with Mica via Zoom from his state of the art studio facility in LA, Malouf credits Mica as a talent that is “every engineer’s dream” with a clear vision and outstanding songs, likening her production approach on single "Flashlights" to that of the legendary Quincey Jones.

Amongst those also credited on ‘Heaven Knows’ are esteemed bassist, Jerry Barnes (Whitney Houston, Nile Rodgers, Chic) who adds his signature bass sound to single ‘Preacher Man’, pianist/organist Bobby Sparks (Snarky Puppy, Kirk Franklin) who performed on single 'Will I See You Again', bassist and engineer Vince Chiarato (Black Pumas), bassist Brandon Rose (Marcus Miller), and Ricky Peterson and David Z Rivkin (long standing collaborators of Price and Etta James). Rivkin contributed to the album as a second arranger on "Fools Fate" and also linked Mica up with Prince/Fleetwood Mac organist Rickey Peterson to perform on the same track.

“It has been really amazing to work with people who have played on some of my favourite records of all time. Doing that from my home studio in Manchester was incredibly surreal”. says Mica.

Recorded between Manchester, Devon, New York, Minneapolis, Nashville, LA and other locations across the US and Mastered at the iconic Abbey Road Studios, Mastering Engineer, Geoff Pesche (Adele, Ed Sheeran), cited 'Heaven Knows' as his "favourite album project at Abbey Road Studios in 2021" and predicted Mica would be “the most exciting new artist releasing music in 2022”. Continuing, “I work on around 50 albums a year at Abbey Road, very few make it onto my iPod. This went straight on”.

Amassing over a million streams since it's release in June, ‘Heaven Knows’ has achieved widespread acclaim this summer, including a host of national radio support from the likes of Trevor Nelson at BBC Radio 2 and a slot on Clive Anderson’s ‘Loose Ends’ on BBC Radio 4. Championed by Craig Charles & Tom Robinson on 6 Music and by BBC Radio 1’s Victoria Jane and BBC Radio 2’s Good Morning Sunday, Jazz FM also cite her as one of their most played artists, A listing her most recent singles alongside 'Heaven Knows' receiving 'Album of The Week' and singles 'Girl', 'More Than You Give Me', 'Heaven Knows' and 'Will I See You Again' all being featured as 'Track of The Week'. Mica will also be Guest Head of Music across Jazz FM on Friday 4th November taking over the Jazz FM playlist all day and presenting her own one hour show featuring music that has inspired her”.

Apologies for dumping in a lot of information about one album but, as part of this Revisiting… feature, I argue why you need to check out an album that was either underrated or under-exposed upon its release. In terms of radio airplay, Heaven Knows is an album that should be spun across all major stations! Hopefully, when everyone recognises Mica Millar’s phenomenal talent, they will give the album some more coverage. I would urge everyone go buy the album, as it is a hugely passionate, powerful and nuanced album. Such wonderful production (from Millar) with these songs that get into the heart and soul. Prior to finishing off with reviews, there are two interviews that will give some additional background and personal insight into the album and the creative process. Last June, Soul&Jazz&Funk spoke with Mica Millar about a somewhat fraught and difficult process to completion of a highly anticipated debut album:

“So, as your career was shaping up, we were all hit by Covid and you of, of course, suffered a horrendous back accident… are you prepared to tell us how you coped with that… what kept you going?​

I had an accident in 2022 which resulted in me crushing one of my vertebrae and severely damaging my spinal cord. I was very nearly paralyzed so I’m incredibly lucky. It’s a long-term injury so it’s a lot to come to terms with but I’m definitely getting there.

Going through something so traumatic in the midst of recording the album was a real challenge but honestly, I just really didn’t want my injury to define me or impact what I had been working towards creatively. When Covid hit, it felt like one thing after another for me, I just thought, the universe is telling me to take some time out now. There were nine months where I was learning to walk so it wasn’t really feasible to work on the album, but I think that period of time did give me some perspective and when I was able to get back into my studio, I had a much clearer vision for how I’d finish the record.

Covid, in many ways, opened up a lot of opportunities for me to work with people I’d always wanted to work with in the US. Given everything was online at that time as we were in lockdown, recording remotely meant that could happen anywhere in the world. I’m glad I was able to take such a difficult situation and to make something really positive out of it.

Now you’re clearly in a better place and have three successful singles under your belt. How do you explain their success while your earlier ventures had less exposure?

I think you get out what you put in – this album has been three years in the making and I’ve spent a lot of time planning the release campaign with my team, filming music videos etc. With earlier releases I think I was testing the water really and with this I’ve really gone all out and the response has been incredible.

Your debut album is out this Friday, 10th June and the title track, ‘Heaven Knows’ has winning great reviews, why did you choose that as the title track?

For me, ‘Heaven Knows’ really sums up the themes across the album as well as my experience when creating it. The song is about moving between mindsets of belief and fear or self-doubt and trying to ground yourself in the knowing that everything is going to be OK – Heaven Knows or the Universe knows. The song explores themes of human nature, spirituality, oppression, love, empowerment and I think these all have duality or plurality in the way we experience them, and I love the duality of ‘Heaven Knows’ as a sentiment – it’s either an affirmation and a feeling of empowerment or an abandonment of control.

Yes, that one and the other two singles from the album all carry important messages… ‘Preacher Man’ dealt with escaping from capitalism in pursuit of what it truly means to be human; ‘Girl’ spoke of accepting and taking inspiration from the commonalities of our respective journeys through life and  ‘Heaven Knows’ explores the complexities of faith and fate and the duality of moving between mindsets. Are there more “didactic songs” on the album and can we expect some cuts with less lyrical complexity – songs that deal with things like romance, relationships etc… the traditional fare of popular music for want of a better description?

There are a lot of topics I explore on the album but yes, there are songs about relationships, love and heartache. That said, I really didn’t want to write an album of ‘love songs’ (and I could have done – I have plenty of those written). I thought very hard about the track order and the plethora of messages that I wanted to communicate. There were definitely other contenders for ‘singles’ ahead of the album but I thought it was important not only to showcase the songs and me as an artist, but also to introduce the subject matter. The album is ultimately about being human and we are complex beings.

Did you write all the songs yourself and what about the producer and musicians on the album?

For this album, I wrote, arranged and produced it myself independently. I had an amazing mentor in the early stages of recording called Lewis Hopkins who engineered a significant proportion of the record in the first studio sessions which we did over five days at Middle Farm in Devon. For that session I worked with Miles James (Michael Kiwanuka, Tom Misch, Cloe Soul), Jonathan Tuitt, Marc Morrison and Arran Powell (members of Emile Sande’s live band) with Lewis and another engineer called Andy Thomas who also took the photograph that was used for the album’s sleeve artwork.

After that, it was Covid, and I started recording with people remotely. On ‘Preacher Man’ I played piano and programmed a lot of the instrumentation and John Ellis (Lilly Allen, Corinne Bailey Rae) recorded organ and Jerry Barnes (Whitney Houston, Chic) recorded the bass part.

I worked on the other tracks with musicians mostly from the US. ‘Will I See You Again’ has Bobby Sparks (Snarkey Puppy) on piano and Marcus Miller’s prodigy Brandon Rose on Bass. I worked remotely with bass player and engineer Vince Chiarito (Black Puma’s) at Hive Mind Studio’s in New York to record drums on ‘Girl’ and ‘Will I See You Again’ and he brought in some brilliant musicians to play keys and organ and also played bass on a number of the songs too. Ricky Peterson (former Prince organist) and David Z (Prince, Etta James producer/engineer) both worked on ‘Fool’s Fate’ with me. There’s been some amazing musicians who’ve contributed to the record and bringing together people from across the ages of Soul music has really made this album what it is in many ways”.

I shall get to the reviews. First, and in a fascinating interview with 15 Questions, there are a couple of points I wanted to reference from it. I know she released her debut album last year, but I am already fascinated and excited to see what Mica Millar releases next. Such is the depth and breadth of her writing and vocal talent, you know that she is going to have an extremely fertile, long and celebrated career:

“Many writers have claimed that as soon as they enter into the process, certain aspects of the narrative are out of their hands. Do you like to keep strict control over the process or is there a sense of following things where they lead you?

There is definitely no strict control in my writing process or the process when creating a demo - whatever flows out. At a point though, when the decision is made to turn a song or an idea into a finished piece of work, that’s a very dedicated and much more disciplined process.

I suppose that’s when you move from ‘artist’ or ‘songwriter’ to ‘producer’ and it’s a very different headspace, skill set and process.

Often, while writing, new ideas and alternative roads will open themselves up, pulling and pushing the creator in a different direction. Does this happen to you, too, and how do you deal with it? What do you do with these ideas?

Yes it definitely does.

When I started the production process for the album there were seventeen songs. Three of them didn’t make it on to the record. That wasn’t because the songs fundamentally weren’t as good as the others, in fact, I think two of them are up there alongside my favorite songs that did make the cut. But at a certain point, I came to the conclusion that I had taken those songs in the wrong direction and they weren’t going to be realised in the way I wanted for this particular album.

With certain songs on the album, ideas were tried out and changed along the way, but once you’ve taken something so far in one direction, sometimes it’s a case of saying ‘that’s not fundamentally right’ and you need to scrap it and start again. So there were three songs where that happened. One I think just wasn’t quite good enough to start with and the other two will be on my second album now I have a clearer idea of what I want the finished versions to sound like.

There are many descriptions of the creative state. How would you describe it for you personally? Is there an element of spirituality to what you do?

Definitely, I think I discovered spirituality through music primarily. The creative state is for me about connecting with your inner self in a very deep and truthful way - it’s getting into a meditation or flow state.
After that, I think for me it has been about realising your own potential as well as the potential of a song. Creating something that other people connect and relate to that came from inside your mind is a very special, and I think quite spiritual, experience in itself”.

The first of two reviews that I want to highlight is, again, from Soul&Jazz&Funk. Big supporters of Mica Millar’s work, they were full of praise when it came to the divine and astonishing Heaven Knows. It is an album that I definitely feel needs some fresh ears and plays in 2023:

“Manchester soulstress MICA MILLAR has been on the scene since 2017 when she released her first single, ‘My Lover’. Since then, of course, an awful lot has happened and in Mica’s case the creative problems that the pandemic and lockdowns caused were compounded by an horrendous accident in 2020 that left her with a broken  back. Mica narrowly escaped being paralysed from the waist down. Instead of giving up, though, Mica pushed on  through the challenges, taking on rigorous rehabilitation, determined to carry on making her own brand of contemporary soul.

That grit has paid real dividends as Ms M’s three singles this year have won critical acclaim and support from the soul cognoscenti. First there was the moody ‘Preacher Man’ which dealt with escaping from capitalism in pursuit of what it truly means to be human . That was followed by the catchy ‘Girl’ which spoke of taking inspiration from the commonalities of our respective journeys through life. Then there was the lovely 60s retro groove  of ‘Heaven Knows’ – a song with a deep meaning , exploring things like faith and fate.

Mica has chosen ‘Heaven Knows’ as the title for her debut album, which is released today, June 10th and those three singles, despite their familiarity still offer sonic vibrancy and food for thought. Indeed throughout the set Mica’s songs deliver plenty more powerful messages. The moody ‘Trouble’ for instance, deals with resilience and facing your fears while the shifting ‘No Money, Nor Faith (Freedom)’ is a protest anthem about inequality, capitalism, oppression and human exploitation.

The album, though, isn’t all preaching. Mica offers plenty of music that deals with what we could call the normal fare of popular music – romance and relationships, though our girl puts her own spin on  it!  Take the inventively produced ‘Flashlight’. Mica calls this her “movie depiction of romance” – a sonic sketch of what it would feel like if being in love. ‘Will I See You Again’ is a moody “loss” ballad with a Southern soul flavour while the harmonic ‘Down River’ seems to hark back to the torch song era – another inventive production.

Sonically the cuckoo in the nest is the aforementioned ‘My Lover’. You’ll remember this was Mica’s debut single and it’s a song close to her heart so it was a no- brainer for her to include it on the LP.  Here the remastering enhances the song’s plaintive beauty – simple piano accompaniment and that soulfully, emotive voice.

And it’s that voice that’s the star of the show. Whether the songs are delivering a socio/political message or exploring that most elusive of emotions and all that it brings in its wake, it’s the beauty of the soundscape that will blow you away. If you really care about proper, contemporary soul music, you need to investigate. Little wonder that more than a few soul tastemakers are already talking about Mica Millar’s ‘Heaven Knows’ as Brit soul album of the year! Find out more by accessing our interview with Mica in our interview archive.

(BB) 5/5”.

I will end with a review from The Music Is My Radar. They expended real depth and examination when it came to Heaven Knows. A thoroughly deserved applause and salute of the magnificent Millar. It is a stunning body of work from one of this country’s premier and most accomplished artists:

“I’ve got nothing but praise for this dazzling debut, comprising of 14 tracks the impeccable Heaven Knows was a slice of soulful bliss. Featured you had title track Heaven Knows, Girl and Preacher Man, all of which were exceptional gems. Also you had the 2017 debut single My Lover added in for good measure. Kicking off proceedings you had Girl and this was an uplifting tune which Mica released on International Womens Day. Basically Millar’s tantalising tones sent shivers down my spine, the lyrics resulted in an empowering anthem whist the whole soulful delivery resonated a Motown vibe. Following on it was gospel tinged Preacher Man and this being Mica’s first single of 2022. This being a sleek/ upbeat jam which left me utterly transfixed, everything about it was simply spot on, Millar’s powerhouse vocals oozed a smokiness, you had a toe tapping melody whilst those whimsical words were well and truly captivating. More Than You Give Me literally knocked me for six, it was literally sheer perfection that’s been sublimely crafted. This was a fresh and funky delight which enchanted me on the very first listen. More Than You Give Me was jazz meets soul which worked wonders, that marvelous meody was rather upbeat, Millar’s powerful tones were sumptuously sweet whilst those groovy lyrics resulted in an addictive anthem. Title track Heaven Knows was a gospel tinged ballad which resulted in something that was pleasent on my ear. Mica’s tasty tones packed a punch, the majestic melody was rather sleek whilst the lyrical content was beautifully uplifting. Everything about Flashlights was spot on, those sultry soulful vocals were buttery smooth, that gorgeous melody was a majestic slice of sheer perfection whilst those whimsical words were so heart warming. 

Trouble was different when compared to the opening 5 tracks, for starters it was a mixture of soul meets jazz accompanied by an edgy toe tapping melody. Mica’s vibrant vocals were a force of nature whist the lyrical content oozed plenty of attitude. Here Millar sang about how you should embrace your fate/ face your fears because you don’t know when trouble will come knocking at your door. Fool’s Fate was a personal favourite of mine and this being the fact it’s a slick lounge version which created something rather mesmeric. Just listening to this tempting treat always brings goosebumps to the skin. Millar’s tantalising tones screamed out soul whilst you also had dashes of jazz added into the mix. Will I Ever See You Again was an emotive ballad which oozed plenty of blues vibes. Mica Millar delivered this with plenty of gusto and you can feel the emotion within the vocal delivery. The compelling content focused on saying good bye to a loved one and wondering whether you will ever see them again. The space apart then makes you realise how you feel for that person. When I close my eyes I picture someone going to fight in a war which then has the other half thinking if he’ll return to her. No Money, Nor Faith (Freedom) was an anthem in the making which hit me like a ton of bricks when I heard this for the very first time. Mica’s dazzling delivery was a force to be reckoned with whist the content resulted in a call to arms. Stay was a stripped back ballad which resulted in something rather hypnotic.

Millar’s tones were richly crisp and at the same time you could pick up on the emotion oozing from the lyrics. Down River was drenched in plenty of jazz goodness which captivated me from beginning to end. Mica Millar powered through this number at ease and the thought of witnessing this at the Jazz Cafe this September sends chills down the spine. Next up was the first single from Mica Millar and this being My Lover. Listening to this never fails to stun me, My Lover was a piano led soulful ballad, Milar’s powerhouse vocals were heavenly whilst those lyrics were rather hypnotic. Nothing’s For Keeps was yet another stripped back ballad which Mica delivered with bundles of emotion. Heaven Knows then concluded with Give View My Prayer and this being blues rock which resulted in something rather edgy.

All in all this was a confident debut which left me with the urge to hear more. Mica’s heavenly vocal tones were a distinctive delight which left me compelled from beginning to the very end. Each tune featured was a well written piece of perfection and if you are a fan of the soulful genre then Heaven Knows is right up your street. Actually when I was listening to More Than You Give Me, the first song that sprung to my mind was Jocelyn Brown’s Somebody Else’s Guy. Anyhow if was to sum up this amazing album in one word it would have to be magical”.

The next date on the tour for Mica Millar is the Cheltenham Jazz Festival on 27th April. She plays the Wigan International Jazz Festival on 15th July. In between, she plays everywhere from Edinburgh’s Summer Hall to the Love Supreme Festival. Two big dates at London’s Jazz Café on 5th and 6th May are where she will get some capital appreciation. I was due to see her on 5th (which is sold out) but do go and see her if she is playing near you. Take it from me. You will be full of regret…

IF you miss out!

FEATURE: Date with the Night: Yeah Yeah Yeahs’ Fever to Tell at Twenty

FEATURE:

 

 

Date with the Night

  

Yeah Yeah Yeahs’ Fever to Tell at Twenty

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ON 29th April…

 IN THIS PHOTO: Yeah Yeah Yeahs in 2003/PHOTO CREDIT: Eddie Brannan via FADER

a terrific album will turn twenty. Fever to Tell is the debut album from the Yeah Yeah Yeahs. Produced by David Andrew, it is undoubtably one of the most important and greatest albums of the '00s. The New York band (Karen O, Nick Zinner and Brian Chase) unleashed this masterful and timeless album in 2003. In the same way as The Strokes defined a New York sound and created this real impression of the city, I feel Yeah Yeah Yeahs do the same. The Brooklyn trio are a more vulnerable and electric. There is that blend of the open and exhilarating. If bands like The Strokes are more macho and have less depth, a fellow New York band were doing something different and embodying a new definition and sound of Indie Rock and Garage. I want to come to reviews for the mighty Fever to Tell. First, NPR wrote about the album in 2017. Sophie Kemp was writing an essay as part of NPR Music's list of 150 Greatest Albums Made By Women:

“Indie rock lore holds the New York City of the early aughts in special regard. In the midst of a subcultural interim when Brooklyn began to be gentrified and Manhattan was taking its last gasp, celebrated macho indie rock bands like The Strokes, LCD Soundsystem and Interpol rose to popularity. In New York and all throughout the eastern seaboard, indie rock coexisted with electroclash and early laptop-rock bands as artists drew inspiration from both the art rock of the past and contemporary electronic music. From that same period of stylized and innovative-yet-nostalgic NYC indie rock came Yeah Yeah Yeahs, a band composed of frontwoman Karen O, drummer Brian Chase and guitarist Nick Zinner. But on its debut album, 2003's Fever To Tell, the Yeah Yeah Yeahs escaped the confines and conventions of early aughts indie rock through Karen O's ability to match sexuality with intimacy and heartbreak.

After putting out a few heavily hyped and critically successful EPs, Yeah Yeah Yeahs released Fever To Tell on Interscope. The album did well commercially: It was nominated for the Grammy for Best Alternative Music Album and eventually went gold. But its legacy truly lies in its subtext: as a study in both explicit representations of female sexuality and in massive, all-encompassing heartbreak. Fever To Tell operates as a space of feminist transgression; when Karen O gasps for air on "Cold Light," or screams on "Date With The Night," she's creating art that breaks down boundaries in a very public way.

On Fever To Tell, two fundamental styles of Karen O come together. On the one hand, there is Karen O the sexual provocateur and iconoclast garage rocker, the Karen O who douses herself in olive oil and dances on stage in nothing but a pair of pasties, singing as if she were at the brink of orgasm. We encounter this side of Karen O as early as the first track, "Rich," where she pleads for a guy to "stick it in;" she draws in imagery of flesh ripping clean off; she articulates what it feels like to "be a hot noise." In the furiously quick "Tick," she starts the song in a high-pitched shriek, building up the song like a literal time bomb until it explodes and she stops singing altogether and starts moaning. This is an album that is dripping with sex, even on the tracks that are the most heartbreaking.

But the other side of Karen O on this album is the version of her as a woman who has suffered. So what happens when we encounter the heartbreak on this album? What happens when Karen O is just as public about being someone who is capable of falling out of love as she is about the power she wields as a sexual being? This heartbreak shows Karen O as a complex picture: She is a woman who has loved and who has lost, a woman who sings from the bleak other side of having once been deeply and madly in love. More importantly, she explores this part of herself while she talks about sex; she expresses her heartbreak through her confidence in herself. On "Modern Romance," for example, the album's noise and fuzz are dialed back. Everything is sparse; Karen O's lyrics are simple but not understated. "Go get strong," she quivers in the first few seconds of the track. Lyrically, "Modern Romance," is painful. Karen O's words come slowly, one after another; they feel premeditated. This style of drawn out songwriting isn't exclusive to the sadness in "Modern Romance;" it's everywhere on the album. Heartbreak, sex — all of it is expressed with the same care and intentionality”.

There is something very distinct and evocative when it comes to Yeah Yeah Yeahs’ sound. Their debut is such a powerful and immersive listen. You are brought into their world. Albumism did a retrospective of Fever to Tell for its fifteenth anniversary in 2018. There is no other lead like Karen O. She is one of the most astonishing voices in all of music. Fever to Tell was representative of the early-'00s' Garage Rock revival (which artists like The White Stripes a good example). It is Dance/Art Punk of the highest order:

“The sound of Yeah Yeah Yeahs is a certain feeling: under your sneakers the floor is sticky, the beer you’re drinking is clear gold, and the bathroom you just broke the seal in is a mix of graffiti and grime. Lighting in the bar is just dim enough to make eyes at your crush across the crowd. But not before you sweat all over yourself, while you jump along to pounding drums, hurried guitars, and that rasp—Karen O’s voice squeals, roars, and jabs, reminding you that you might not need that someone because you have her.

Karen O (for Orzolek) is a singer-songwriter made of teenage dreams. She can howl at the moon and hum you to sleep in her arms, and either way you’re not alone. The other two-thirds of Yeah Yeah Yeahs are Brian Chase on drums and Nick Zinner on guitar and keyboards. They’re a trio of power in tiny spaces, simple ideas in big places, and pure volume.

Date With The Night” is a ball of fire. One guitar lick stops only so another can pull you in a different direction. The heat is in the underlying, endless oomph of the drums, and the song is over before you know it…with a gasp. Karen O catches her breath right at the end. And that is Yeah Yeah Yeahs: they are wild lightning during the storm. No need for thunder, they’re already plugged in.

The songs go on like this, less than half of them longer than three minutes, and no bass in sight. Their ethos as a band shines through in the track listing of one-word song titles, short phrases echoing their name, “No No No,” and abstract beings and ideas (“Black Tongue” and “Cold Light”). These songs demand attention, even if you’re not sure which way to look. You must look.  

Karen O manages to cover every base in the vocal songbook in these songs. Her power is undeniable, even when she’s delicate on the love song “Maps,” their most famous track: “Wait / they don’t love you like I love you / wait / they don’t love you like I love you.” You can imagine her twirling the elongated “maps” she sings around her finger, like a telephone coil, as it leaves her lips.

“Modern Romance” is full of drone and enough hum to remind you of that other famous New York City punk band, the band that started it all for so many. The backwards looping and warble of the guitar, Karen O’s voice ringing layered on itself, and the Christmas bells are all a sound of defeat and texture. “Well I was wrong,” she sings, “it never lasts…there is no / modern romance.”

Not until the last track “Poor Song” is the trio audibly tired. It’s the closest they come to being acoustic here—drums on the rim, the guitar’s timbre more like a bass, and Karen O’s voice stretching from her throat as she sing-talks. It’s a cue to slow down and take stock: “Well I may be just a fool / But I know you're just as cool / And cool kids / They belong together.”

Karen O met Brian Chase at Oberlin College but transferred to NYU where she met Nick Zinner. When their first drummer didn’t work out, Chase stepped in and the trio came alive. It’s cliché to label them as “The Cool Kids,” but it also feels stupid not to. The three of them play with rock and roll in their hands, like putty, to see what else it can be and what it can do. Yeah Yeah Yeahs are raspy and bendy and impossibly spunky.

Fever To Tell was only their beginning, a record of swagger that still shines, even since Yeah Yeah Yeahs have moved out of the barroom and onto the festival circuit (or hell, to the Empire State Building). Last year it was reissued on vinyl for the first time in over a decade with B-sides and rarities, photographs, and an unseen documentary. The band also released a limited edition “The Deluxe Box” that contains even more fan memorabilia and comes signed and wrapped in fishnet stockings.

Yeah Yeah Yeahs are the blaze of electricity in your record collection, a band cemented in rock history as a vibrant powerhouse. If you haven’t made it out to Coney Island to ride the Cyclone (which turned 90 last year!), just turn on Fever To Tell. Every track is a wild ride with a jagged beat, sharp turns, and a classic New York City attitude”.

I am going to end with a review from AllMusic. Even though some reviews have been a bit more mixed, most are extremely positive. Fever to Tell is considered one of the best albums of the 2000s. I don’t think there is a twentieth anniversary edition of the album coming out. It is a shame, as it is quite hard getting a copy at the moment. You can do, but it is quite expensive. Anyway, this is what AllMusic has t say about Fever to Tell:

“On their EPs, the Yeah Yeah Yeahs grew considerably, moving from the arty yet anthemic garage punk of their self-titled EP to Machine's angular urgency. Fever to Tell, their first full-length and major-label debut, also shows growth, but for the first time the band doesn't sound completely in control of the proceedings. Their EPs were masterful studies in contrast and economy, balancing just the right amounts of noise, melody, chaos, and structure within 15 to 20 minutes. At 37 minutes long, Fever to Tell sounds, at different times, scattered and monotonous. Most of this is due to poor sequencing -- the album opens with some of the raunchiest noise the Yeah Yeah Yeahs have ever recorded, then abruptly changes gears and delivers a kitchen sink's worth of pretty ballads and experimental pieces. Both the old and new sides of the band's sound offer brilliant and frustrating moments: "Rich" is a sneering sugar-mommy story; "Black Tongue," which features the great lyric "let's do this like a prison break," is almost Hasil Adkins-esque in its screwed-up sexuality and rockabilly licks.

"Date with the Night," a rattling, screeching joy ride of a song, combines Karen O's unearthly vocals, Nick Zinner's ever-expanding guitar prowess, and Brian Chase's powerful drumming in dynamic ways. Not so good are the insanely noisy "Man" and "Tick," which have enough volume and attitude to make the Kills and Jon Spencer turn pale, but also sound like they're coasting on those qualities. The moody, romantic songs on Fever to Tell are the most genuine. "Pin" and "Y Control" have a bittersweet bounciness, while the unabashedly gorgeous, sentimental "Maps" is not only among the band's finest work but one of the best indie/punk love songs in a long, long time. Along with "Modern Romance," a pretty but vaguely sinister meditation on the lack thereof, these songs compensate for some of Fever to Tell's missteps (such as "No No No," a lengthy, halting mishmash of punk and dubby experimentalism). Perhaps they should've included some of their tried-and-tested songs from their EPs, but for a group this mercurial, that would probably be stagnation. Though this is their debut album, Fever to Tell almost feels like a transitional release; they're already rethinking their sound in radical ways. Even when they're uneven, the Yeah Yeah Yeahs are still an exciting band”.

On 29th April, Yeah Yeah Yeah’s Fever to Tell is twenty. Whether decade-defining songs like Maps and Date with the Night included, I think we will be discussing this album for decades more. Take some time out today to listen to a stirring, stunning and sublime album from New York City’s golden trio of Karen O, Nick Zinner and Brian Chase. Fever to Tell made an impact upon its release in 2003. Its impact, vitality, importance, and brilliance remains…

TO this day.

FEATURE: A Welcome Security and Support: The Organisations Making Gigs and Festivals Safer for Women

FEATURE:

 

 

A Welcome Security and Support

PHOTO CREDIT: gpointstudio via freepik 

 

The Organisations Making Gigs and Festivals Safer for Women

_________

IN so many ways…

 PHOTO CREDIT: wayhomestudio via freepik

women have remained unheard and under-appreciated in music. There is the ongoing issue with gender inequality on festival bills. Many female artists signed to labels are not marketed and promoted effectively or as much as their male counterparts. Radio playlists still seem more skewed towards male artists and, when it comes to award ceremonies and acknowledging the female artists who are undoubtedly putting out the best music, they are still being left out of so many categories. Throw into the mix professional studios and a relatively low number of female producers; the horrible abuse many women see online frequently and have to deal with, and there is still a long way to go when it comes to equality and making women feel safe, heard, and valued! I know I write about this a lot, but there are tiny steps being taken each year. Each year, so many women are sexually assaulted or harassed at gigs. Whether a small venue or festival, there are numerous horrific cases of assault and abuse. I am going to come to a musician who is partnering with safegigs4women (who will be appearing at Bush Hall, London on 30th April for the venue’s International Women’s Day) at her upcoming tour dates – to ensure that women feel safer and more secure at her gigs. I will also talk about whether this kind of scheme and idea needs to be rolled out more widely. I want to bring in some statistics and other organisations before then. This article from 2022 relates to an interview conducted with Mary Crilley, the co-founder and CEO of Sexual Violence Centre Cork. She discussed and reacted to some shocking statistics:

“48% of musicians have experienced sexual harassment at work.

  • 79% of women aged between 18 and 24 had experienced or witnessed sexual harassment on a night out.

  • 56% of nightlife workers have experienced sexual violence on a night out or while working in the nightlife environment.

  • almost 9 in 10 women feel unsafe in public spaces.

In 2018, Mary Crilley launched Safe Gigs Ireland, a campaign to respond to the experiences of audiences, creatives, artists and all working within the broader arts and entertainment sector. Her goal was to challenge and tackle environments that were rife with harassment, micro-aggressions and sexual violence.

Through innovative partnerships with musicians, producers and venues, Safe Gigs is leading the charge to reduce sexual harassment. The Safe Gigs Charter provides a model that can be adapted by music, dance and alcohol-licensed venues around the world”.

The Safe Gig Charter is one measure implemented to help make women feel protected at gigs. It is festivals too that have an issue still with sexual violence and harassment. As we head towards festival season, you wonder how many women who would otherwise have been at a festival have cancelled through fear of their own safety. Durham University published an article last summer that shows that, whilst many festivals are implementing safety measures and trying to do their best to ensure women are able to enjoy the music without encountering assault or harassment, there is still a miasma that pervades many festivals. A feeling that they are not safe environments. Given their sheer size and packed crowds, there is relatively little festivals can do:

“The set up and culture of music festivals can create dangerous spaces where sexual violence and harassment can be perpetrated.

That’s according to a new study led by our Durham Law School which found that the combination of size, layout, attitudes and behaviours at festivals can make these events conducive to sexual violence.

The researchers are calling on festival organisers and local authorities to make a real commitment to tackling this and to take it as seriously as other health, safety and environmental issues when organising their events.

Experiences of festival-goers

The study follows a survey conducted in 2018 by the same research team at Durham amongst 450 festival-goers which showed that a third of women had been sexually harassed at a festival and eight per cent had been sexually assaulted. A YouGov poll in 2018 also found that nearly half of female festival goers under 40 had experienced sexual harassment.

As a follow up, 13 women were interviewed about their experiences at festivals in the UK.

It showed that sexual violence and harassment are normal everyday experiences at festivals for the women which ranged from unwanted attention, verbal harassment, groping, sexual assault and rape. The most common experiences were unwanted groping and touching whilst in the crowded stage areas or camping sites.

PHOTO CREDIT: Maria Orlova/Pexels

Lay-out and toxic culture

All the women talked about feeling the need to risk assess and adapt to help reduce the risk of sexual violence, in the same way as women often do in other public spaces. Some had stopped going to festivals all together, others went with male friends whilst others moderated their alcohol intake or avoided certain areas.

The lay-out of music festivals - with very crowded stage areas, campsites, public toilets, dark walkways between areas and poor surveillance – make many women feel unsafe and provide perpetrators with an ‘ideal’ environment.

The study also concludes that the culture of music festivals supports a toxic lad culture with heavy alcohol and drug consumption and the marketing of festivals as hedonistic and escapist.

In 2017, 103 UK festivals committed to the Association of Independent Festivals’ (AIF) Safer Spaces At Festivals campaign, which is aimed at tackling sexual violence at festivals. The initiative sees festivals commit to a voluntary charter of best practice which includes allegations being taken seriously, acted upon promptly and investigated.

Other festivals are also doing their own campaign and policy work, but the researchers say progress is still fairly slow.

They suggest all festivals, not just some, should work with specialist support groups such as Safe Gigs for Women, to devise clear policies. These should include prevention strategies, how they record allegations and respond to them, a requirement to have specialist support on site and training for staff. They recommend that these policies should be mandatory as part of the broader safeguarding requirements festivals have”.

It is thanks to the amazing organisations out there like safegigs4women, Safe Gigs Ireland, and UN Women United Kingdom that steps forward are being taken. The latter published an open letter that was signed by the likes of Emily Eavis (Glastonbury’s organiser), Laura Whitmore, Gabrielle, and Sigrid. Again, reading the statistics makes for shocking and disturbing reading:

“The music industry is celebrating as our festivals and live events reopen to the world. It’s a moment we’ve all been waiting for. In a society that often works to divide us, music has the power to unite us – whatever the tough realities of life may be.

But now we must face our own reality. And this reality is one that our industry has too long ignored: venues, festivals, studios and workplaces are too often not safe spaces for women, girls and marginalised genders.

It is high time we change that, and we have a collective responsibility to take action. This restart needs to be for all of us. Our spaces must provide safety from harassment, violence, and abuse of power. Music should be a place of joy and inclusion for all.

Let’s make 2022 the year the music and events industries rise up to the call of the #MeToo movement – and commit to change.

The problem is everywhere. More than 7 in 10 women have been sexually harassed in the UK, and over 40% of women aged under 40 at a live music event. Within the music sector, over 60% of workers have experienced sexual harassment.

The vast majority of incidents go unreported, with over 95% of women not reporting sexual harassment. Almost half of UK musicians have faced sexual harassment at work, with workplace culture being cited as the greatest barrier to reporting.

We will not wait around while another woman experiences sexual harassment, violence or abuse – as an artist, as a professional, or as a fan. Let’s act now to make our music industry and live events safe.

Through our shared love of music and culture, and our shared respect for each other, we can – and will – work together to make all spaces safe for all people. Be part of the change – add your voice now”.

 PHOTO CREDIT: Sascha Hormel/Pexels

I will come to venues soon, but festivals are very much in people’s minds this year. After so many of them reopened last year – following COVID-19 and the restrictions imposed -, there is that extra appetite and desire for people to be at festivals. The Conversation had their say regarding continued incidences of sexual violence/harassment at festivals – and how the spaces are being adapted to ensure there is greater vigilance and heightened security:

“However, festival spaces are not equal spaces. Festival lineups remain dominated by men, and female festivalgoers are also not free to enjoy festivals in the same way as men. In 2018 a poll conducted by YouGov found that over 40% of women under 40 reported being sexually harassed or assaulted.

Together with colleagues, I began a research project in 2018 to explore sexual violence at UK festivals. The first part of our study – a survey of 450 festivalgoers – reinforced the findings of the YouGov poll.

We found that 34% of female respondents reported being sexually harassed or assaulted at a festival in the previous few years, compared with 6% of men. In our study, 9% of women and 1% of men reported being sexually assaulted.

We wanted to explore these experiences and their impact in more detail. We interviewed 13 female festivalgoers aged between 18 and 40 who had been sexually harassed or assaulted at a festival in the previous two years. This included being catcalled and leered at, having a hand put up their dress or skirt, and being rubbed against or groped. It also included penetrative assault.

PHOTO CREDIT: gpointstudio via freepik

“The festival environment

Festivals are not the only spaces women experience sexual harassment or violence. But there are unique aspects of festivals that unfortunately make them ideal locations for perpetrating these acts, while simultaneously making it difficult for women to report or seek help.

Crowded stage areas can provide a cloak of anonymity for perpetrators who harass, grope or assault. Perpetrators can disappear into crowds quickly and are difficult to locate by security or other staff. One woman in our research described this behaviour as like “drive by” misogyny.

Similarly, the walkways between festival and camping areas, as well as the camping sites themselves, were highlighted by women in our study as spaces where they had been harassed or followed. One woman described having a man “break into” her tent and assault her. These spaces rarely have security on site and may be located away from security huts, making it difficult to report quickly.

Culturally, festivals can be locations that see high levels of alcohol and drug intoxication. They are also places where large groups of men attend together. These aspects reduced how safe women (and to a lesser extent, men) felt at festivals in our earlier survey.

The women we interviewed felt these factors created a cultural atmosphere where sexual violence was normalised and sometimes trivialised by friends, other festivalgoers, perpetrators and, in some cases, festival staff, including security.

Women described being shocked and upset and told us that the experience often ruined the festival for them. Some had stopped going to festivals. Others changed their behaviour to reduce the risk of sexual violence in other ways. In other words, women engaged in what is known as “safety work” – such as reducing their alcohol consumption, avoiding certain places and not going to places alone.

Changing the space

One of the unusual features of festivals compared with other nightlife and live music settings is that the venue is not fixed – it is changeable and adaptable. This means that there are opportunities to redesign and reimagine the spatial layout of festivals with preventing sexual violence in mind. This may include placing security or safety ambassadors in specific locations closer to the areas women are reporting harassment or assault, including in crowded stage areas, but a wider conversation about how to modify festival spaces is needed.

There have been positive developments over the last few years. The Association of Independent Festivals, which represents over 100 independent festivals, has developed a charter and campaign to raise awareness of sexual violence. The Association encourages festivals to take the issue seriously, with an approach that means all disclosures are believed and taken seriously in their prevention and response initiatives”.

In terms of organisations that are here to ensure that women feel safer at gigs, it is not about assigning burly security everywhere and making everyone feel intimidated and watched. Opening conversations and chatting with those at gigs about how they can do their part is crucial. Raising awareness and asking attendees how they can help reduce the cases of sexual violence. The Anchoress (Catherine Anne Davies) has joined with safegigs4women. Their mission is to work alongside organisers, venues, and gig-goers to fight sexual assault and harassment at live music events. It is a noble and much-needed protection and voice in the music industry. I was instantly struck by The Anchoress’ tweet on Thursday (20th). I am not sure whether many other artists are taking the same approach but, at a moment when there are women avoiding gigs because they feel unsafe, it is a notion that many other artists should follow. Whilst it is not practical that organisations such as safegigs4women be at every gig, I think there is still a perception that women will be fine and it is none of our business. Reframing the narrative and that mindset is crucial! Organisations and bodies can do all they can, but it is also down to gig-goers to ensure that they look out for women and do not assume that everything is okay. That means, if they see a woman who might be getting hassle or is looking uncomfortable, to check in and make sure they are alright. That presence and approach alone can really make a difference. I hope that a of male artists and bands follow The Anchoress’ lead when it comes to working with great organisations and making gigs a much safer space. It should not be up to female artists alone to be proactive and do their utmost to protect women who come to see them play. I spoke with The Anchoress about her upcoming gigs, how the partnership with safegigs4women came about, and whether she feels things will get better when it comes to the damming and stark figures regarding sexual assault and harassment at venues and festivals.

I do think that things will improve going forward. The statistics that were presented last year show that there is still this hugely troubling environment at many gigs and festivals when women are being assaulted and harassed. There are resources like We Are Music who have as list of organization on their website that include those who are combating and highlighting sexual assault and harassment at live music events. Artists like The Anchoress working alongside safegigs4women will definitely compel others to do likewise. I feel that, through action like this and greater awareness of the problem and scope, venues, festivals, and other spaces will do as much as they can to ensure women feel safer when seeing live music. It is not down to them solely to do this. It is incumbent on all male gig-goers to do the best they can. Whether that is looking out for any women who are being harassed or feel unsafe, or calling out any of their friends who go too far and are part of the damaging and alarming statistic. There is a toxic culture still where many men feel it is okay to assault women or harass them when they are trying to enjoy live music. In addition to raising awareness and increasing protection and security at gigs, tougher punishments for those who are accosted and arrested would be good. Whether that is a lifetime ban which applies to all gigs, this would send a tough message that we can no longer tolerate or accept any form of sexual abuse or harassment in a sphere that should be about community, acceptance and, above all, safety! The fact that many women still feel unsafe when they attend venues and festivals is horrible. Thanks to The Anchoress for sharing her reasons behind working alongside safegigs4women at her upcoming gigs. If more artists and venues take this approach, then it will open up more conversations and change the culture. That can only be…

  IMAGE CREDIT: The Anchoress

A good thing.

FEATURE: 50ft Queenie: PJ Harvey’s Rid of Me at Thirty

FEATURE:

 

 

50ft Queenie

  

PJ Harvey’s Rid of Me at Thirty

_________

THERE is a lot…

 IN THIS PHOTO: Rob Ellis, PJ Harvey and Steve Vaughan/PHOTO CREDIT: Steve Rapport/Getty Images

to cover here, as a monumental album turns thirty on 4th May. That would be PJ Harvey’s Rid of Me. The follow-up to her 1992 debut, Dry, many rank Rid of Me as her very best work. Released only as year after her excellent debut, Rid of Me is more raw and aggressive than its predecessor. Produced by Steve Albini – who produced, among other classics, Pixies’ Doolittle (1989) -,  Rob Ellis on drums and background vocals, and Steve Vaughan on bass joined Harvey. The trio sadly parted ways late in 1993. Although Rid of Me is a genius album, it was one that had turbulence and emotional tension at its heart. Recorded in the U.S., the Dorset-born icon was a big fan of Albini’s work and his production methods. Someone who brought a new sound and vitality from PJ Harvey, she would work with other producers on future albums. This raw and primal sound that Albini brought from Harvey and her band. Before getting to some reviews, there are articles about Rid of Me that look at the backdrop to PJ Harvey’s second studio album, in addition to its impact and brilliance. The Quietus revisited the album in 2018 for its twenty-fifth anniversary. They highlighted its torridness and brilliance. It was a new start and next phase for a restless and hugely talented artist:

“However, the back story to Rid Of Me revealed an artist in a state of mental exhaustion. Much of the album was written in Harvey's home county of Dorset in October 1992. At the time, Polly was suffering from what she would describe as a "breakdown". Over the previous 18 months, Harvey's life had changed beyond recognition and she had fled her North London flat for the tranquility of the English coast.

Originally from the tiny village of Corscombe, the country girl had moved to the capital to further her music career. With the 'Dress' single immediately creating a huge impact, she was immediately thrown into a hectic touring schedule. While the first album had been released by the small Too Pure imprint, Harvey was further stressed by finding herself at the centre of a major label bidding war. Although nothing had been formally signed with Too Pure, she felt indebted to them, while sensing that a major deal would be the better long-term option (Rid Of Me would be released by Island Records).

On top of that, the singer-songwriter had just endured the painful ending of her first proper relationship – an experience that would inspire a number of the most jagged moments on Rid Of Me. By October, Harvey wasn't eating properly and could barely bathe or clean her teeth. Her mother drove her back to Dorset to recuperate and find solace in the countryside. Back home, Polly would write a new batch of songs. "It's going to get ugly," she would tell a friend at the time.

Compared with Dry, Rid Of Me gleaned its emotional power by sounding even more abrasive, claustrophobic and edgy, and thus echoing Harvey's fragile state of mind. The album was recorded during December 1992 over a two-week period at Steve Albini's Pachyderm Studios in the frozen backdrop of Cannon Falls, Minnesota. Inspired by her love of Howlin' Wolf and the Albini-produced Pixies' masterpiece Surfer Rosa, Polly was eager to utilise the renowned studio techician's ability to capture visceral soundscapes.

Using in the main only a single electric guitar, drums and bass, Harvey experimented with distortion effects – as on the vocals for 'Yuri-G' – while retaining Albini's trademark 'live' sound. And while it's fair to say that, like other Albini-produced albums at that time (The Breeders' Pod and The Wedding Present's Seamonsters spring to mind), Rid Of Me saw PJ Harvey undergo the standard Albinification treatment, the results were explosive”.

An album that went to number three in the U.K. upon its release and is frequently rated alongside the best ever, there is no doubting the fact that Rid of Me made a gigantic impact in 1993. Thirty years after its release, and this inventive, fresh, and potent album still stuns people. When it arrived on 4th May, 1993, it was unlike anything around it. This was a time when Britpop was just about starting. In fact, many credit Suede’s eponymous 1993 debut with starting the movement. Rid of Me lost out to that album at the 1993 Mercury Award ceremony. Guitar.com underlined the genius of Rid of Me for a feature last year:

“In making the record with Albini, Harvey further set herself apart from the rock cognoscenti. Ejecting any pretence of doling out traditional song structures or ostentatious solos, PJ instead used feedback, distortion (likely via the ProCo RAT and Boss DS-1, both staples of her pedalboard) and eerie dissonance to emphasise the record’s sunken depths. On the demented Legs, for example, unsettling feedback wafts into the mix in place of where you might typically expect a solo. Meanwhile, jagged tremolo-picked parts zig-zag through the murk.

Another of Rid of Me’s crucial tracks, the indignant gender-leveller Man-Size, is driven by a choppy, wave-like momentum, buffeting between G, F and A powerchords. This thrusting repetition builds tension, occasionally rising to overdriven highs before settling back into its groove, emphasising the circular monotony of its lyrical target.

Rid of Me sounded unlike anything else in 1993. Even today it remains a rollercoaster of often uncomfortable but always engaging sonics, perfect to house Harvey’s sketches of obsession, passion, sexuality, dejection and power. Its white-hot canvases were a major influence on Kurt Cobain. In the discussions that led to Nirvana’s In Utero, Albini presented Rid of Me as an example of a more raw-edged approach to recording guitar. Cobain was entranced. The dislocated sonics of Nirvana’s final LP were unmistakably informed by Rid of Me.

Trying to cause a riot

While Harvey’s later work may have brought her wider attention – and provided a less abrasive way-in for listeners – the savage thrill-ride of Rid of Me remains her most electrifying listen. Armed with just her guitar, a small ensemble and merciless determination, Rid of Me’s 14 tracks reconstituted Harvey’s hardships into resolute, growling proclamations.

“I had just come out of my teens and at that time you really want to make your mark on the world,” Harvey told Spin. “So I just wanted to say something that hadn’t been said in that way before. I was trying to cause a riot in one way or another”.

Before getting to reviews, there is one more article that is worth bringing in. Published in 2022, they note how there is this blend of the personal and almost theatrical. Something Gothic that, when mixed together, is visceral and utterly open. It is heartening and wonderful that is less accessible and commercial than many at the time was a big-selling success:

“A commercil and critical breakthrough

Rid Of Me was also her commercial breakthrough. In Britain, it reached No.3 in the chart and was shortlisted for the Mercury Music Prize, while Harvey was nominated for a Brit Award in the Best Female Solo Artist category (she lost to the more emollient Dina Carroll). It even produced her first U.K. Top 30 single in “50ft Queenie.”

On the other side of the Atlantic, where she was seen as a cool English indie-grrrl, Rid Of Me got considerable college-radio traction. In both countries, it appeared in end-of-year polls, and the consensus today is that it’s her masterpiece.

With the exception of a cover of Dylan’s “Highway 61 Revisited” that’s unrecognizable thanks to vocal distortion, the album generally reflects Harvey’s life at that point. She was a country girl who’d become the subject of enormous press interest, and the attention was wearing her down. It was aggravated by still living in the cold flat in Tottenham, North London, where she’d been miserable during the writing of Dry.

Feeling backed against a wall, the only way out was to return to Dorset, the rural county where she’d grown up. Renting a room above a restaurant in a seaside town and watching fishing boats enter and leave the harbor, she was lulled into serenity. She completed the Rid Of Me songs and the band went to a studio in Minnesota to record them, with Steve Albini producing.

Albini was chosen because Harvey loved his work with Pixies, and thought his “bare, very real sound” would gel with hers. She also appreciated his refusal to let her brood and overthink while recording; they were in and out of the studio in two weeks.

Sexual politics, relationships, and gender fluidity

As with Dry, the songs pack such a punch that Harvey’s emotional well-being became a music-press talking point. The effect was intentional according to Polly, who had just signed to Island Records and was worried that the major label would try to make her more saleable. Determined to “show Island what I’m about and what they’re dealing with,” she went out of her way “to make a very difficult record.”

Rid Of Me was a mix of autobiography and gothic play-acting, but it coalesced into an authentically visceral howl. The title track, which opened proceedings, was a warning to a departing lover: “You’re not rid of me… I’ll make you lick my injuries/I’m gonna twist your head off, see?” It was scary and intense, yet the chorus, “Doncha, doncha wish you’d never met her?,” was as catchy as a Ramones hookline.

From there, the album went careening into sexual politics, relationships, and gender fluidity. The last was tackled in the very funny “50ft Queenie,” which ridiculed the male obsession with genitalia by claiming that Polly’s own organ was “20 inches long.” For good measure, she roared, “I’m the king of the world… You can bend over, Casanova!”

However you measured it, this was compelling stuff. Delving further, the track “Dry” (written for the debut album, but not included on it for reasons unexplained) scathingly appraises a lover and finds him wanting. In the song, Harvey admits she has “wet sides from time to time,” but that mainly “you leave me dry.” It’s so neat and so vicious that it’s impossible not to feel a touch of sympathy for the man it’s addressed to.

Then there’s “Rub ‘til It Bleeds,” abrasive in both name and style. It starts as a bluesy amble, with Harvey inviting her man to rest while she rubs his head. But tension builds, the bassline stutters and she slips into a fourth dimension of anguish: “I’ll smooth it nicely/Rub it better ‘til it bleeds.” Later, the discordant string sextet on “Man-Size Sextet,” that saws away as Polly sings through gritted teeth, adds a horror-movie chill to the air”.

Although Entertainment Weekly and Rolling Stone did not give Rid of Me a great review, most others did. They are U.S. sites/publications, and I feel like many there did not get Harvey. Even though she did tour in the country, I think her music resonated more in other countries. In years since Rid of Me was released, the America media has definitely embraced a remarkable album. In 2018, Pitchfork awarded Rid of Me a perfect ten. They made some great observations about an album from one of the all-time best artists. A true genius:

“Many of these narratives are grounded in history, religion, or the arts: “Me-Jane” is, as the title suggests, a lament from Tarzan’s long-suffering civilized partner. Attack of the 50 Foot Woman inspired “50 Ft Queenie.” Mythology was an obsession of her mother’s, and Harvey’s language on Rid of Me subtly reflects that. “Yuri-G” is a sort of pagan love spell addressed to the moon goddess Luna. “I’ll make you lick my injuries/I’m going to twist your head off, see,” from the title track, is supposed to be one of the album’s most fearsome images. Yet that “see” changes everything, transforming a lurid threat into the goofy taunt of a movie gangster or a fairy-tale giant. Even as she was singing from her soul, Harvey was acting.

Of course, the part every person plays from childhood to death—whether we embrace it, subvert it, change it, or some combination of the three—is our gender role, which may not look quite the same in the city as it does on the farm. Women who inhabit non-traditional gender roles, as Harvey certainly has throughout her career, are often presumed to be speaking as feminists. But, as gratifying as it would have been to hear her proclaim allyship with fans who believed in the equality of the sexes, you can see why she tried to prevent Rid of Me from being viewed through that lens.

As a child, Harvey expressed her desire to be a boy by sitting backwards on toilet seats in an imitation of the way her older brother peed and demanding to be called Paul. When she drawls “Got my leather boots on/Got my girl and she’s a wow” on “Man-Size,” a song widely interpreted as an indictment of masculinity, you can hear her imagining what it would be like to inhabit a typical male body. It is as much a fantasy, and a dark joke, as the B-movie rampage of “50 Ft Queenie.”

Beyond their smattering of angry-woman signifiers, Harvey’s songs are literal performances of gender; they shed light on, poke fun at, and rail against the misery of being trapped by the expectations of femaleness or maleness for one’s entire life. “I never think of myself separately as ‘a woman’—I’m always a musician first,” she told The Guardian in 1993. This is what’s so frustrating about making art as a member of the second sex: You identify as an artist, and trace your lineage to Dylan or Willie Dixon, only to watch helplessly as you’re shunted into the role of “woman artist” the minute your work attracts any attention. If women identify most intensely with PJ Harvey’s music, maybe that has less to do with a set of body parts or political aims than with the unconscious sensitivity we’re forced to develop to the species-wide tragicomedy of gender.

The brilliance of Rid of Me is in the vividness and detail with which it captures that Boschian panorama using only blues rhythms, loud-quiet-loud dynamics, Harvey’s voice (and sometimes that of Ellis, whose falsetto and status as a backup singer constitute additional instances of gender subversion), and an arsenal of extreme characters and loaded allusions. It was that rich, strange, deliberately alienating picture that Harvey attempted to reproduce, not flawlessly but unforgettably, alone on Jay Leno’s stage with her dress and her guitar and her conspicuous lip liner and her startling second voice.

She would investigate feminine archetypes in greater detail on 1995’s To Bring You My Love, naming her sexy alter ego Vamp, clothing the character in a hot-pink catsuit, and slathering her face in gobs of blue eyeshadow and red lipstick. But even then she was exploring gender from the distant perspective of someone who realized that sex was a shared delusion, an arbitrary binary, a sick joke. The one constant in PJ Harvey’s long discography is the mosaic of voices. Listen only to the female ones on Rid of Me, and you’ll only hear one side of the conversation”.

Turning thirty on 4th May, the seismic and phenomenal Rid of Me is still marked alongside the all-time great albums. Quite right too! The Steve Albini-produced masterpiece is available on vinyl, but I am not sure whether there are any anniversary releases in the pipeline. Go and listen to Rid of Me. A thirty-year-old gem of an album, I know there will be celebration and new investigation closer to 4th May. Three decades after its release, and there has not really been anything else that quite sounds…

LIKE Rid of Me.