FEATURE: God Only Knows: The Benefits and Negatives of AI-Created Musical Mashups

FEATURE:

 

 

God Only Knows

IN THIS PHOTO: The Beach Boys during the Pet Sounds photoshoot by George Jerman at San Diego Zoo, California, in February 1966/PHOTO CREDIT: Capitol Photo Archives 

The Benefits and Negatives of AI-Created Musical Mashups

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IT seems to be the weekly news thing…

 PHOTO CREDIT: cottonbro studio via Pexels

where we hear of another AI-created song. Artificial intelligence is becoming more prevalent and notable. Previously, I used to associate it with something in science or science fiction. I know it has been part of music for a while, but it has never had this sort of attention and dominance. Now, one can create tracks with other artists featuring on them. You can take a classic song and then have another singer providing the vocals – without them having to do anything. I admit that the technology is clever and impressive, but is it a little creepy and pointless? I will explore that more. As I say, there are these weekly reports of a new song coming about where it has been mashed up, so that the original artist is either performing alongside someone else, or another famous artist is singing it. As NME recently reported, The Beach Boys’ most beautiful and beloved song has seen The Beatles’ Paul McCartney and John Lennon singing together. The majestic God Only Knows has been given the AI treatment:

“Over recent months, music lovers have been using AI methods to create “new music” and collaborations with their favourite artists, including The Weeknd, Drake, Kanye West and more. However, one of the latest projects shared shows that fans can also bring some of their nostalgic favourites back to life, and create new versions of iconic 1960s tracks.

One of the most recent covers, shared last month, shows just that — depicting the iconic 1966 Beach Boys track, ‘God Only Knows’ being played in the style of The Beatles.

Starting with AI-generated vocals, the track also features a dreamy duet with Paul McCartney and John Lennon, as well as backing harmonies from drummer Ringo Starr and an a cappella ending. Check out the track below.

While the creator of the video doesn’t offer much explanation into what inspired the project or what tools he used to develop the track, McCartney has previously described the song as “one of the few songs that reduces me to tears every time I hear it”.

“It’s really just a love song, but it’s brilliantly done. It shows the genius of Brian [Wilson],” he said (via Far Out). 

IN THIS PHOTO: The Beatles photographed during a press conference in New York on 6th August, 1966/PHOTO CREDIT: Santi Visalli/Getty Images

While AI-generated mashups can often be conceived as controversial by fans, The Beatles and Beach Boys collaboration has received mostly positive reactions online. At the time of writing, the video has over 1,100 likes on YouTube, versus just 10 “thumbs-down” reactions.

“Paul and John are finally reconciled in the chorus, it’s the most beautiful thing I’ve heard. Thank you,” wrote one fan in the comments, while another added: “This is incredible. I have dreamed of hearing Paul sing this for my whole life. Amazing.”

Last month, an AI-generated “lost” Oasis album also emerged online and also received a wave of praise from fans online. The project — which imagined how Oasis would sound if they reformed and created music reminiscent of their ‘90s heyday — also gained recognition from the former frontman, Liam Gallagher, who described it as “mega” and “better than all the other snizzle out there.”

Earlier this week, however, fans had a less than optimistic view towards another AI project, which saw Kurt Cobain performing the 1998 Hole song, ‘Celebrity Skin’.

While it was labelled as nothing more than an “elaborate mashup” by the creator, fans were quick to criticise the project and call it out as being inappropriate.

“Call it what you want, but this is copyright infringement, totally distasteful, poorly executed, and subtextual misogyny that panders to bigoted whisperings that Kurt wrote [Courtney Love Cobain’s] hits,” wrote one person on Twitter. “Let them both rest.”

Bad Seeds frontman Nick Cave also shared his lack of support for songwriting using artificial intelligence earlier this year — labelling it as “a grotesque mockery of what it is to be human”. He also commented on the issue later, explaining that he wished AI programmes such as ChatGPT would “fuck off and leave songwriting alone”.

Whilst I do like the idea of not having to imagine what it would sound like it McCartney and Lennon sung God Only Knows, there is that thing about taking control away. Artists almost forced to perform that song. Maybe it does take something away from the original. If the AI songs and albums are not really superior to the originals or they lose that genuine, human element, it is interesting technology none the less. In years gone, there is often discussion as to what it would be like it another artist covered a song. Maybe someone no longer with us. If a band like The Beatles took on The Beach Boys’ stunning material. I would like to imagine what a new Radiohead album would sound like with AI’s intervention. It would be neat to think about, say, a new Beastie Boys track. Whilst that can happen, you have to ask how far it will go. As I say, the AI-produced music is not advanced enough so that you can replace the human voice. That said, we need to be cautious about its rise and impact. It is machine-driven, so you do not get the emotions, nuances and spontaneities that the human voice can produce. It is fallible and restricted in that sense. Fans will always prefer music that is created by real artists! I do wonder whether we will get a series of albums released that you could buy that are created by AI. Maybe deceased artists being ‘brought back to life’ by AI.

We bring artists back through holograms. People actually go and watch concerts of departed artists who now are on the stage in this hologram form. Maybe that is a little weird and unsettling, but it does at least show that you can push the boundaries of what a live music concert is. It is that issue of respect and whether an estate or artists would ever want that. In terms of the new slew of AI songs and albums, how many of the artists approached have given consent?! Even if fans like the songs that are posted, how about those who made the music?! I hope we do not get to a time when people are drawn to the AI versions of songs rather than the original! It is wonderful that we have technology that can mashup and give us these possibilities. It is causing no harm right now to the industry and, if these AI-produced songs are getting a lot of buzz, they will never take the place of actual musicians. The quality of these AI songs are hit and miss. The ‘lost’ Oasis album is pretty weak. Even if the God Only Knows with Macca and Lennon in the chorus is quite emotional and cool, the original is far far superior! I have not really heard anything by AI that either surpasses the original song or is seen as needed. No situation where I have thought that AI has improved something. That being said, as the technology becomes more advanced and talked about, will it start delivering albums that are actually pretty decent?

I am not sure what other music fans think, because artists who have spoken out are divided. There are those – such as Nick Cave and Peter Gabriel – who have provided warning and profanity towards something seen as both dangerous and completely unnecessary. In an industry thriving because of its multitudinous and variegated music, do we need AI at all? Grimes has given her blessing, so you wonder whether we might see a day when her back catalogue is mashed up. Either that, or we get an AI Grimes releasing music from now on. I think, it was Massive Attack that said one reason why AI exists and is seen as so spooky is because modern music is homogeneous and boring. If machines can fool people because it is so close to the original, then is music quite anodyne and repetitious? Have we lost the sort of invention and originality that we had years ago? I don’t think that is true. Maybe some of the Pop mainstream is becoming samey and predictable, but the industry is so vast that you cannot call it all boring, predictable or lacking in originality. As I write this, I know that somewhere another mashup is being created. There will be no stopping it. If there is a certain impressiveness about AI’s ability to do this, I struggle to see the value and purpose of it all! If it realises dreams and what-ifs of fans, I think that there are more artists than not who would prefer AI to scale back and stay away. Even if these mashups and new albums from AI will never really sustain and replace music as we know it, I suppose there are various songs and moments that take you by surprise in a good way. A new version of The Beach Boys’ classic features band members they were in friendly competition with in the 1960s. Maybe this AI-generated song has won some people over, but it seems to be the best of a rather shaky bunch. When will all of this stop?! Will it stop?! When it comes to that question…

GOD only knows!

FEATURE: Second Spin: Lupe Fiasco - Lupe Fiasco's Food & Liquor

FEATURE:

 

 

Second Spin

Lupe Fiasco - Lupe Fiasco's Food & Liquor

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A remarkable artist…

whose latest album, 2022’s Drill Music in Zion, ranks alongside his best, Chicago rapper Lupe Fiasco hit this incredible stride and high on his debut, Lupe Fiasco's Food & Liquor. Released on 19th September, 2006, I do think that there are many people who might not know about Lupe Fiasco or have heard his music. I feel his debut is the peak. A stunning introduction, I will bring in a few positive reviews for this innovative and hugely original Hip-Hop album. Recorded between the hugely cool-sounding studios 1st & 15th (Chicago), Record Plant (Hollywood), and Right Track (New York City), maybe a lot of people associate Lupe Fiasco's Food & Liquor with the stunning lead single, Kick, Push. That song took on a life of its own. Even though Lupe Fiasco is not a skater, the song describes a love story between a male and a female misfit skateboarders. There is not a lot of promotional material around the album in terms of interviews. That is a shame, as it would have been nice to get some more context and personal insight from Lupe Fiasco. What I do know is that Lupe Fiasco's Food & Liquor reached eight in the U.S. and thirty-one in the U.K. Kick, Push was a more successful single here than the U.S., but I think since its release in 2006, the wonderous Lupe Fiasco's Food & Liquor has grown in stature and reputation. Like many of the classic Hip-Hop albums, there are plenty of well-chosen and impactful samples to be found here. For example, Kick, Push contains a sample of Magtaksil Man Ikaw (Bolero Medley) by Celeste Legaspi.

I will come to a few reviews. The first, from the A.V. Club notices how one of the most important aspects of the album is how it covers new ground and pushed forward a genre slightly dogged and defined by a narrow lyrical palette. In terms of sounds and stories, Lupe Fiasco's Food & Liquor is so different to everything that was out there at the time – and it still sounds fresh and in its own league to this day:

“Considering how long hip-hop has dominated the pop charts and popular culture, it's remarkable how little thematic ground most of it has covered. But on his eagerly anticipated debut, Lupe Fiasco boldly goes where few, if any, rappers have gone before. On the album's best tracks, Fiasco masterfully melds his peerless storytelling gifts with his idiosyncratic passion for skateboarding, fantasy, and incisive sociopolitical commentary.

Fiasco's deafening buzz began after his attention-grabbing verse on Kanye West's "Touch The Sky," but kicked into high gear with the release of "Kick, Push." Only surpassed by Gnarls Barkley's "Crazy" for this summer's dominant single, "Kick, Push" is a propulsive love song equally enraptured by the freedom, exhilaration, and outlaw allure of skateboarding culture—in it, a simpatico skater girl takes the kicking, pushing hero from skater boy to skater man. With its cinematic horns and manic drums, "Kick, Push" soars deliriously on a wave of teen romanticism seldom explored in hip-hop: It's like Rebel Without A Cause reconceived as a skateboarding anthem. Stylistically, Fiasco's flow, fussy pronunciation, and wordplay owe a sizable debt to Jay-Z, who executive produces and guests on "Pressure." But thematically and lyrically, there is no father to Fiasco's style”.

The magnificent Fiasco released one of the best debut albums of the first decade of this century. Lupe Fiasco's Food & Liquor is a staggering album that I would recommend to everyone – even if you are not normally a fan of Hip-Hop. Rolling Stone had their say about a sensational and eclectic album:

“For many fans, the first sign that Chicago MC Lupe Fiasco's long-delayed debut album might be something special was the single "Kick, Push." Over smooth, jazzy horn samples, Fiasco tells the story of a kid learning to ride a skateboard as a metaphor for struggling to find one's way in life and love ("He said, 'I would marry you/But I'm engaged to these aerials and varials/And I don't think this board is strong enough to carry two' "). It's a creative, well-told tale that Pharrell wishes he could have written, and it sets expectations high.

Lupe exceeds them on Food & Liquor. Without dipping his toes into violent imagery, wanton obscenity or other hip-hop cliches, Fiasco reflects on the personal and the political, and reminds fans of everything hip-hop can be. It's full of surprising, creative moments that recall Nas and Kanye West -- the latter of whom gave Fiasco his biggest exposure as a guest on "Touch the Sky" and who produced one track here. "He Say She Say" details the woes of growing up without a father ("Asks me if his daddy was sick of us/'Cause you ain't never pick him up"), set to swelling strings, and "Hurt Me Soul" describes the Muslim MC's struggle to come to terms with hip-hop's darker side ("I used to hate hip-hop, yup, because of the women degraded/But Too $hort made me laugh, like a hypocrite I played it"). "Pressure" features a killer beat populated by stabbing piano, guitar and hawk squawks, plus a golden cameo from Jay-Z, who, amazingly, crossed label lines to executive-produce the project -- an indication of how strongly Jigga feels about the kid. His faith is well-placed”.

I am going to round things off with a review from AllMusic. There is no denying the brilliance and creativity that runs right through Lupe Fiasco's Food & Liquor. Like other albums released from 2006, I don’t think that it is dated and only relevant at the time it came out. Here is an album that still offers up layers and joys after seventeen years:

“A few years in the making, Lupe Fiasco's Food and Liquor follows a fruitless association with Epic (as a member of da Pak), an aborted solo deal with Arista (which yielded one promo single), a handful of guest appearances (tha Rayne's "Kiss Me," Kanye West's "Touch the Sky"), and a leak of an unfinished version of the album that set the official release back to September 2006. Still only 25 years old, Fiasco -- a Chicagoan of Islamic faith who owns a number of black belts -- sounds wise beyond his age, rarely raises his voice, projects different emotions with slight inflections, and is confident enough to openly admit his inspirations while building on them. It Was Written is his touchstone, and there are traces of numerous MCs in his rhymes, from Intelligent Hoodlum and Ed O.G. to Nas and Jay-Z. Pharrell (aka Skate Board P) might've considered suffocating himself out of envy with his Bathing Ape sweatshirt when he first heard the album's lead single, "Kick, Push," dubbed a skate-rap classic well before Food and Liquor hit shelves. Like nothing else in the mainstream or underground, its subject matter -- skater boy meets skater girl -- and appealing early-'90s throwback production finally broke the doors down for Fiasco's solo career. Wisely enough, Fiasco doesn't turn the skating thing into a gimmick and excels at spinning varying narratives over a mostly strong set of productions from 1st & 15th affiliates Soundtrakk and Prolyfic, as well as the Neptunes, West, Needlz, and Mike Shinoda. There are strings, smeary synthesized textures, and dramatic keyboard vamps galore -- templates that befit heartbreaking tales like "He Say She Say" and casually deep-thinking reflections like "Hurt Me Soul," where the MC confronts some of his conflicting emotions: "I had a ghetto boy boppa/Jay-Z boycott/'Cause he said that he never prayed to God, he prayed to Gotti/I'm thinking golly, God, guard me from the ungodly/But by my 30th watchin' of Streets Is Watching, I was back to givin' props again/And that was botherin'/'Bout as comfortable as a untouchable touching you." Deserving of as much consideration as the other high-profile debuts of the past few years, up to and including The College Dropout, Food and Liquor just might be the steadiest and most compelling rap album of 2006”.

Go and listen to Lupe Fiasco's Food & Liquor if you have not heard it before. It is a wonderful album that I have been spinning again in preparation for this feature. It got acclaim when it came out, but I don’t think many people explore it now. Maybe I am wrong. With Lupe Fiasco still releasing music, his incredible career…

KEEPS going strong.

FEATURE: NOW That's What I Call Music at Forty: Rewind/Fast Forward: A Time to Revive the Archive and Think to the Future

FEATURE:

 

 

NOW That's What I Call Music at Forty

Rewind/Fast Forward: A Time to Revive the Archive and Think to the Future

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LET us start off…

with some information and background from Wikipedia when it comes to an iconic and hugely popular album series. The NOW That’s What I Call Music series is forty later in the year. I know I am looking ahead and the anniversary is not until 28th November, but I do wonder whether there are going to be anniversary celebrations or a new album. The numbered series has reached 114 (released on 14th April). Maybe they will do a special compilation for the fortieth anniversary. Before going on, here is some background to the compilation series:

“Now That's What I Call Music! (often shortened to Now!) is a series of various artists compilation albums released in the United Kingdom and Ireland by Sony Music and Universal Music (Universal/Sony Music) which began in 1983. Spinoff series began for other countries the following year, starting with South Africa, and many other countries worldwide soon followed, expanding into Asia in 1995, then the United States in 1998.

The compilation series was conceived in the office of Virgin Records in London and took its name from a 1920s British advertising poster for Danish Bacon featuring a pig saying "Now. That's What I Call Music" as it listened to a chicken singing. Richard Branson, owner of Virgin, had bought the poster for his cousin, Simon Draper, to hang behind Draper's desk at the Virgin Records office. The pig became the mascot for the series, making its last regular appearance on Now That's What I Call Music 5, before reappearing in 2018, 2021 and 2022”.

You can get some of the ‘Yearbook’ series on vinyl, but I don’t think you can for the numbered series. Maybe there are some second hand, but I would love the possibility of the series coming to vinyl. Cassettes would be awesome too. Maybe it would cost too much and not be practical, but I bought NOW That’s What I Call Music 24 on cassette when it came out in 1993. I have written about this before – and I will do again -, but a cool NOW That’s What I Call Music pop-up shop with a vending machine that dispenses cassettes of the series. Old adverts of the albums running, and merchandise and C.D.s. That would be pretty cool! It may be an impossible task but I wanted to expand on that a little.

I was originally going to do a feature that selects the ten best NOW That’s What I Call Music compilations. That is a tough choice, but there are some classics that everyone should hear. Other articles like this that rank the U.S. series (it started later there, and there are different artists featured on the compilations each year compared to the U.K. version); this that decides NOW That’s What I Call Music 44 (1999) is best; this one, that holds a special place in its heart for NOW That’s What I Call Music 50 (2001), and this interesting feature. The U.K. website used to have a feature whereby you could select every album in the series by number or the year it came out. That made it easy if you had to put together a compilation – as there are not necessarily Wikipedia entries for each or tracklistings online -, and you could also see adverts relating to each of the albums. I know that special series’ and compilations are now working alongside the yearly numbered ones, but I do wonder why the archive and that essential resource has been retired. Maybe it is somewhere but, as it is such a useful and crucial source of information and archive for those maybe new to the compilations series, it is a shame that it is not available online. I do hope that run the series and maintain the website think about returning that incredible portal.

It is wonderful that NOW That’s What I Call Music has expanded and you get these yearbooks that compile the best tracks from a previous year. That is what the numbered series does too, but here you get a slightly different take. In so much as I think it is important to have the archives restored and make it easy to navigate back to old albums and find detail about them, it would also be nice to have some of the best examples of the series committed to tape and vinyl. I guess it comes back to that argument that, as people have nothing to play cassettes on, what is the point of manufacturing them? It seems like the NOW That’s What I Call Music compilation is almost born to be on cassette! I would love to see every one of the series on the format, but I realise that could be unfeasibly foolish. However, there is definitely now a demand for cassettes, and the NOW That’s What I Call Music series is not going to dwindle or lose any of its audience. In fact, with its Yearbook editions and people snapping up the latest editions of the numbered series, the empire is expanding. I do not think that it is retro and people only like it for nostalgia. For those who were not alive when particular edition of NOW That’s What I Call Music were released, it is a useful and accessible introduction to popular music of the time. Of course, there is an element of nostalgia, but it is a way of preserving the best music moments from throughout the years.

As this legendary series turns forty in November, it makes me thinking about the past and how we need that important archive where one can look at details about every NOW That’s What I Call Music album from the numbered series. The release date and the advert that went with it, in addition to the tracklisting. I hope that we do get some restoration. Also, as it will soon be forty years, there is likely to be anniversary retrospection and some new releases. I know that NOW That’s What I Call Music will keep going for decades more. It is so wonderful that it continues to resonate with music lovers. Buying the physical album when they could stream songs from it instead, clearly people have that need for physical music - and they also love that treat of having so many quality songs on the one album. Keeping that album in their collection, years from now, they can revisit the time they bought it and get a vivid sense of what the music scene was like. I have done that myself. I would snap up any opportunity to order any of the great NOW That’s What I Call Music albums from the past, as I would keep them for years and really treasure them. A cherished compilation series that has provided conversation, connection, and delight for four decades, we all have particular albums in the series that…

MEAN so much to us.

FEATURE: Inspired By… Part Ninety-Six: Dolly Parton

FEATURE:

 

 

Inspired By…

Part Ninety-Six: Dolly Parton

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AS I get closer to…

 PHOTO CREDIT: Mark Seliger/ABC/GI

the one-hundredth edition of this feature, it occurs to me that I have not included Dolly Parton. A hugely influential and legendary artist, I am keen to get to a playlist of songs from artists who are inspired by Parton. Before getting to that playlist, AllMusic provide a thorough and really interesting biography of the Country icon:

“It's difficult to find a country performer who has moved from her country roots to international fame more successfully than Dolly Parton. Her autobiographical single "Coat of Many Colors" reveals the poverty of growing up one of 12 children on a rundown farm in Locust Ridge, Tennessee. At the age of 12, she was appearing on Knoxville television; at 13, she was recording on a small label and appearing on the Grand Ole Opry. Her 1967 hit "Dumb Blonde" (which she's not) caught Porter Wagoner's ear, and he hired Parton to appear on his television show, where their duet numbers became famous. By the time her song "Joshua" reached number one in 1970, Parton's fame had overshadowed her boss' and she struck out on her own. During the mid-'70s, she established herself as a country superstar, and crossed over into the pop mainstream in the early '80s when she smoothed out the rough edges in her music and began singing pop as well as country. At the same time, she also began appearing in movies, most notably the hit 9 to 5. Over the ensuing decades, Parton maintained mainstream stardom, balancing records and stage shows with film, books, and other multimedia projects, alongside charitable activities. When country radio turned away from veterans, she started to regularly record albums that reconnected with her bluegrass and country roots, while still occasionally returning to country-pop, as on 2022's Run, Rose, Run. Throughout it all, her core songbook -- including such classics as "Coat of Many Colors," "Jolene," "Kentucky Gambler" and "I Will Always Love You" -- maintained its power, attracting new generations of listeners.

The fourth of 12 children, Parton was born and raised in Locust Ridge, Tennessee, just next to the Smoky Mountains National Forest. Parton's family struggled to survive throughout her childhood, and she was often ridiculed for her poverty, yet music soothed their worries. Though her farming father did not play, her half-Cherokee mother played guitar and her grandfather, Rev. Jake Owens, was a fiddler and songwriter (his "Singing His Praise" was recorded by Kitty Wells). When she was seven, her uncle Bill Owens gave her a guitar, and within three years, she became a regular on WIVK Knoxville's The Cas Walker Farm and Home Hour. Over the next two years, her career steadily flourished, and in 1959 she made her debut on the Grand Ole Opry; the following year, she recorded her first single, "Puppy Love," for Goldband.

When she was 14 years old, Parton signed to Mercury Records, but her 1962 debut for the label, "It's Sure Gonna Hurt," was a bomb, and the label immediately dropped her. Over the next five years, she shopped for a new contract and did indeed record a number of songs, which were later reissued on budget-line records. She continued to attend high school, playing snare drum in the marching band. After she graduated, she moved to Nashville, where she stayed with Bill Owens. Both songwriters pitched songs across Nashville with no success, and Parton began singing on demos. Early in 1965, both Parton and Owens finally found work when Fred Foster signed them to his publishing house, Combine Music; Foster subsequently signed her to Monument Records. Parton's first records for Monument were marketed to pop audiences, and her second record, "Happy, Happy Birthday Baby," nearly made the charts. In 1966, Bill Phillips took two of Parton's and Owens' songs -- "Put It Off Until Tomorrow" and "The Company You Keep" -- to the Top Ten, setting the stage for Parton's breakthrough single "Dumb Blonde." Released early in 1967, the record climbed to number 24, followed shortly afterward by the number 17 "Something Fishy."

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The two hit Monument singles attracted the attention of country star Porter Wagoner, who was looking to hire a new female singer for his syndicated television show. Parton accepted the offer and began appearing on the show on September 5, 1967. Initially, Wagoner's audience was slow to warm to Parton and chanted for Norma Jean, the singer she replaced, but with Wagoner's assistance, she was soon accepted. Wagoner also convinced his label, RCA, to sign Parton. Since female performers were not particularly popular in the late '60s, the label decided to protect their investment by releasing her first single as a duet with Wagoner. "The Last Thing on My Mind" reached the country Top Ten early in 1968, launching a six-year streak of virtually uninterrupted Top Ten singles. Parton's first solo single, "Just Because I'm a Woman," was released in the summer of 1968 and was a moderate hit, reaching number 17. For the remainder of the decade, none of her solo efforts -- even "In the Good Old Days (When Times Were Bad)," which would later become a standard -- were as successful as her duets. The duo was named Vocal Group of the Year in 1968 by the Country Music Association, but Parton's solo records were continually ignored. Wagoner and Parton were both frustrated by her lack of solo success, Porter because he had a significant financial stake in her future; as of 1969, he was her co-producer and owned nearly half of the publishing company Owepar.

In 1970, Porter had her sing Jimmie Rodgers' "Mule Skinner Blues (Blue Yodel No. 8)," a gimmick that worked. The record shot to number three on the charts, followed closely by her first number one single, "Joshua." For the next two years, she had a number of solo hits -- including her signature song "Coat of Many Colors" (number four, 1971) -- in addition to her duets. Though she had successful singles, none of them were blockbusters until "Jolene" reached number one in early 1974. Parton stopped traveling with Wagoner after its release, but continued to appear on television and sing duets with him until 1976.

Once she left Wagoner, Parton's records became more eclectic and diverse, ranging from the ballad "I Will Always Love You" (number one, 1974) and the racy "The Bargain Store" (number one, 1975) to the crossover pop of "Here You Come Again" (number one, 1977) and the disco experiment of "Baby I'm Burning" (number 25 pop, 1978). From 1974 to 1980, she consistently charted in the country Top Ten, with no less than eight singles reaching number one. Parton had her own syndicated television show, Dolly, in 1976, and by the next year had gained the right to produce her own albums, which immediately resulted in diverse efforts like 1977's New Harvest...First Gathering. In addition to her own hits during the late '70s, many artists, from Rose Maddox and Kitty Wells to Olivia Newton-John, Emmylou Harris, and Linda Ronstadt, covered her songs, and her siblings Randy and Stella received recording contracts of their own.

Though she was quite popular, Parton became a genuine superstar in 1977, when the Barry Mann/Cynthia Weil song "Here You Come Again" became a huge crossover hit, reaching number three on the pop charts, spending five weeks at the top of the country charts, and going gold. Its accompanying album went platinum and the follow-up, Heartbreaker, went gold. Soon she was on the cover of country and mainstream publications alike. With the new financial windfall, a lawsuit against Wagoner -- he had received a significant portion of her royalties -- ensued. By the time it was settled, she regained her copyrights while Wagoner was given a nominal fee and the studio the duo shared. In the wake of the lawsuit, a delayed duet album, Making Plans, appeared in 1980; its title track hit number two on the country charts.

Parton's commercial success continued to grow during 1980, as she had three number one hits in a row: the Donna Summer-written "Starting Over Again," "Old Flames (Can't Hold a Candle to You)," and "9 to 5." The latter was the theme song to Parton's acting debut, 9 to 5. Also starring Jane Fonda and Lily Tomlin, the movie became a huge success, establishing Parton as a movie star. The song became her first number one pop single as well. 9 to 5 gave Parton's career momentum that lasted throughout the early '80s. She began appearing in more films, including the Burt Reynolds musical The Best Little Whorehouse in Texas (1982) and the Sylvester Stallone comedy Rhinestone (1984). Parton's singles continued to appear consistently in the country Top Ten: between 1981 and 1985, she had 12 Top Ten hits and half of those were number one singles. Parton continued to make inroads on the pop charts as well with a re-recorded version of "I Will Always Love You" from The Best Little Whorehouse in Texas scraping the Top 50 and her Kenny Rogers duet "Islands in the Stream" (which was written by the Bee Gees and produced by Barry Gibb) spending two weeks at number one.

However, by 1985 many old-time fans felt that Parton was spending too much time courting the mainstream. Most of her albums were dominated by the adult contemporary pop of songs like "Islands in the Stream," and it had been years since she had sung straightforward country. She also continued to explore new business and entertainment ventures such as her Dollywood theme park, which opened in 1985. Despite these misgivings, she had continued to chart well until 1986, when none of her singles reached the Top Ten. RCA Records didn't renew her contract after it expired that year, and she signed with Columbia in 1987.

Before she released her Columbia debut, Parton joined forces with Linda Ronstadt and Emmylou Harris to record the rootsy Trio album. Trio became a huge hit, earning both critical and popular acclaim, selling over a million copies, and peaking at number six on the pop charts; it also spawned three Top Ten country singles: "To Know Him Is to Love Him," "Telling Me Lies," and "Those Memories of You." Following the success of the album, she had a weekly variety television show, Dolly, on ABC that lasted only one season. Trio also provided a perfect launching pad for her first Columbia album, 1989's White Limozeen, which produced two number one hits in "Why'd You Come in Here Lookin' Like That" and "Yellow Roses."

Though it looked like Parton's career had been revived, it was actually just a brief revival before contemporary country came along in the early '90s and pushed all veteran artists out of the charts. Parton had a number one duet with Ricky Van Shelton, "Rockin' Years," in 1991, but after that single, she slowly crept out of the Top Ten and later the Top 40. Parton was one of the most outspoken critics of radio's treatment of older stars. While her sales had declined, she didn't disappear. Parton remained an iconic figure in country music, appearing in films (the 1991 TV movie Wild Texas Wind, 1992's Straight Talk), selling out concerts, and releasing a series of acclaimed albums -- including 1993's Honky Tonk Angels, a collaboration with Tammy Wynette and Loretta Lynn -- that all sold respectably. Furthermore, "I Will Always Love You" was covered in 1992 by Whitney Houston, who took it to number one on the pop charts; the single spent 14 weeks at number one, becoming the biggest pop hit of the rock & roll era (it was unseated four years later by Mariah Carey and Boyz II Men's "One Sweet Day").

In 1994, Parton published her autobiography, My Life and Other Unfinished Business. Treasures, her 1996 album, was a highly praised collection of unusual covers, ranging from Merle Haggard to Neil Young. Hungry Again followed in 1998, and early the following year she reunited with Ronstadt and Harris for a second Trio collection in addition to releasing the solo The Grass Is Blue. A rootsy effort, it was well-received and prompted the release of more recordings like it on Little Sparrow in 2001 and Halos & Horns in 2002. The patriotic For God and Country appeared in 2003 and was followed by the CD and DVD Live and Well a year later. Those Were the Days, from 2005, found Parton covering her favorite pop songs from the '60s and '70s. Backwoods Barbie, Parton's first mainstream country album in nearly 20 years, arrived on her own Dolly Records imprint in 2008. Live from London followed in 2009. An album of all Parton-written material, Better Day, appeared from Dolly Records in 2011, the 41st studio release of her long career. Three years later, Blue Smoke was released, appearing first in Australia and New Zealand in January, then in other territories, including America, in May.

In 2015, Parton's classic song "Coat of Many Colors" was adapted into a made-for-TV movie, which featured Alyvia Alyn Lind as the young Dolly Parton and Jennifer Nettles (from the group Sugarland) as her mother. Parton was a producer on the film, which became a major success, and a Christmas-themed sequel was put into production for the 2016 holiday season. In the summer of 2016, Parton announced that she was headlining a 60-date North American concert tour, her most extensive run of shows in 25 years. The jaunt was being billed as the Pure & Simple Tour, and not coincidentally, she also revealed she was releasing a new album in August 2016, a set of ten original love songs also called Pure & Simple.

In October 2017, Parton released her first children's album, I Believe in You; the album debuted at 20 on Billboard's Country charts. A year later, she returned with the soundtrack to Dumplin', a comedy where her music plays a pivotal role. On the soundtrack, Parton collaborated with Linda Perry on three songs, while duetting with Sia, Elle King, Mavis Staples, and Miranda Lambert on new tunes and a handful of her classics. In 2019, Parton was the subject of a popular podcast series produced by Jad Abumrad, host of NPR's Radiolab. Titled Dolly Parton's America, it explored her uniting influence within American culture from a variety of different angles. The following year she released the single "When Life Gets Good Again," produced and co-written by Kent Wells. A response to the COVID-19 pandemic, the song arrived on the heels of her ten-week web series Goodnight with Dolly, in which she read bedtime stories culled from her non-profit children's literacy book club Imagination Library. Along with the single, Parton donated one-million dollars to Vanderbilt Medical Center to help aid in coronavirus vaccination research. Later in 2020, she released her third holiday-themed album, the Grammy-nominated A Holly Dolly Christmas, which featured an eclectic array of guests including Jimmy Fallon, Michael Bublé, and Miley Cyrus.

Dolly Parton teamed up with crime novelist James Patterson to author Run, Rose, Run, a thriller about an aspiring singer/songwriter on the lam. Parton released a companion album of the same name in March 2022, a record that featured duets with Ben Haggard and Joe Nichols”.

Her latest studio album, 2022’s Run, Rose, Run, was her forty-eighth studio album. Her next, Rock Star, is out this year. To celebrate that and mark Dolly Parton’s legacy, I wanted to show how many other great artists are inspired by her. The playlist below contains songs from those who owe a nod…

TO music royalty.

FEATURE: 40 Not Out: Why Music Is Still Fascinating Me As I Head Into My Fifth Decade of Life

FEATURE:

 

40 Not Out

IMAGE CREDIT: dgim-studio via freepik

Why Music Is Still Fascinating Me As I Head Into My Fifth Decade of Life

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MORE and more…

 IN THIS PHOTO: Grimes

we are hearing about AI (Artificial Intelligence) playing a bigger role in music. Whether it is an artist like Grimes saying she is all for AI replicating her singing, and she’d split the royalties, or an AI-replicating Oasis tribute making a ‘lost’ album, it is all quite bizarre and frightening. It does seem like there is this curiosity with how machinery and technology can ‘replace’ artists. I don’t think it will ever become a reality. The point of AI, to me, is to provide back-up. Rather than completely replace the human voice, it could add to a song. Give an extra layer perhaps. At the moment, we are in a situation where AI is recording albums and songs that many cannot distinguish from the artists they are copying. Of course, as this is music, creativity and humans will win out. AI is limited in the fact that it does not have the emotional range and personality of a human. Every AI-generated piece of music I have heard feel soulless and flat. If it does do a good impression of an artist, it cannot create the nuances a human voice can. Even so, the fact AI is able to do an uncanny impersonation of different artists has led some to ask whether modern music is too homogenised and lacks this impenetrable and untouchable complexity and originality. I am hitting forty on 9th May, and it is an opportunity to look back at the music of my childhood and how it has influenced me.

For sure, things are very different now in so many ways. Entire genres have either lost their dominance or changed their sound radically. Pop music goes through these shifts of being diverse and full of interesting songs, to rather mediocre and homogeneous. Rap and Hip-Hop have a very different feel now, as does Rock and other genres. Even if, objectively, I would say the high watermarks of musical inventiveness and genius are in the past, that is not to say that modern music is a pale second. You will get some homogenisation as there is simply so much music around today. Thousands of artists around the world are putting out music! That was something I could not envisage or comprehend when I was a child. When I was growing up, the music I bought and heard played on the radio was by artists who had either been signed or were well-known. You did not have all these interesting and independent artists doing their own thing. If the music of my youth and childhood was breaking new ground and forming who I am today, there were limitations. I do think that there were plenty of duff artists. We tend to over-romanticise the ‘good old days’. For sure, the music of the '80s, '90s and early-'00s was tremendous and is so hard to equal. I don’t hold onto this notion that it is easy for AI to have such an eerie impact now because music sounds the same or lacks distinction. I think it would be easy enough for AI to go back in time and do the same thing. It is not that modern music is less interesting and original: technology and what it can do it more advanced.

I do not look ahead to my birthday and think that all of the best music has been and gone. Today, there is more choice than ever. You do not have to be part of any particular scene or tribe. Whilst those tribes could be very close-knit and incredible, there is less of that musical segregation. In terms of sound and genre, modern music is so much harder to define and limit. Even modern Pop has more dexterity and a wider palette than it used to. Maybe it is not as hooky or as indelible than it was, but I think modern artists are more personal and revealing. You feel more connected to artists than you would have been decades ago, and it is awesome that every type of music lover is accommodated for. There have been some definite changes and positive moves through the years. I think women are ruling music and, whilst there is still gender inequality in the industry, the best music today is made by them. That was true in decades past, but I think that there was less opportunity for many female artists. Many not getting signed or being overlooked when it came to radio airplay. Today, there are platforms and social media that means these incredible artists are more easily able to connect with their audiences and be heard. AI, whilst it seems like it will be the new normal, will never replace music. It is the personality and humanity of the artist that we are drawn to. I don’t look at a milestone age and feel that music very best is in the past. Instead, there are so many artists out there today that let me know that the future is in very good hands. The past year alone has seen so many phenomenal albums and artists come through. As we move ahead, I do feel like there will be even more choice and diversity in terms of sounds and options. This can only be a good thing. Rather than being too stuck in the past and relying too much on childhood favourites, I am embracing modern music and everything it has to offer. As much as technology will try, the brilliant artists and sounds of today will…

NEVER be replaced.

FEATURE: That! Feels Good! Sex-Positivity in Music

FEATURE:

 

 

That! Feels Good!

IN THIS PHOTO: Jessie Ware/PHOTO CREDIT: Jack Grange/Press 

Sex-Positivity in Music

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WHILST the title…

 PHOTO CREDIT: Ikon Republik/Pexels

of Jessie Ware’s new album, That! Feels Good! Applies to a few different things, one could also link it to a satisfaction when it comes to love and sex. The album is euphoric and uplifting, but there is plenty of personal insight. This is Jessie Ware’s best album to date, and the reviews it has accrued so far suggest that it could be among the very best albums of this year. There is not a whole lot that will topple it. It seems that Ware has found where she needs to be, musically – and the artist that she really wants to be. There is definite sex-positivity through the album. I think there is difference between using sexuality and sex appeal to sell music and comply with what a label wants you to do, and using sex-positivity because it feels right and it is something that you want to say. It still happens today, but there was a time in music not that long ago where you wondered whether artists were using sex and sexuality because it was something they were comfortable With, or whether it was the label and other songwriters doing that because it sells and would be provocative. Maybe this applied to women more, but you always wondered if some of the big Pop and R&B artists of the '90s and early-'00s were releasing this sexual and very charged songs because this was true to them and something they needed to say. Was this marketing and a way for the label to make them commercial and standout right away?!

Sex and sexuality are used and discussed in different ways. There was a time when there were these songs that courted press attention because of their content and vibe. If some saw them as too risqué and sexualised, I think it was a combination of artists claiming independence and pushing boundaries. There was also a bit of the labels leaning too heavy on sex to sell records. Things have progressed in many ways, but I think there are still artists signed to major labels where their sexuality and attractiveness is used more as a way to sell rather than it being okay with the artist. Alongside this, we are seeing incredible artists putting out sex-positive messages and expounding the joys of feeling good and embracing something very natural and affirmative! There are artists too where the agenda is a bit more raw and direct. Perhaps more to do with brief flings and instant satisfaction, that is perfectly valid and inspiring too. I think, if the message is bad and something reckless and potentially unsafe is said through song, then that is when things get complicated. Also, if artists are not comfortable singing about sex – but it is something that they have been directed to do – then that is also a dangerous area. In February, Kai Goulder wrote a piece for The Courier (The Voice of Newcastle Students) and discussed whether using sex in music is a good or a bad thing:

“Artist’s using their bodies to sell music, such as by making a raunchy music video, or giving a provocative live performance is nothing new, and when it is done, it’s commonly met with criticism.

We’re living in an era where sex positivity is much more embraced, and the sex positive movement tells us that we should have no shame in enjoying sex and finding sexual pleasure in whatever we find attractive or seductive, so why shouldn’t artists use their sex appeal in the way that they want to? It can arguably be good for fans to help them explore their own sexuality and take pleasure from it.

This could help fans who are discovering their own sexuality to explore it and possibly come to terms with it, if they come from a background that hasn’t allowed them to do so yet.

There are always going to be artists that don’t use sex appeal to sell music, for example Joni Mitchell has made it clear that she is somewhat against artists sexualising themselves and using it to sell music. There’s also the option to just listen to an artist’s music and not interact with them otherwise, and therefore the only aspect of their sex appeal being used that you might notice is on an album cover, for example.

However, there tends to be a lack of diversity in the way that celebrity sex appeal is displayed. Only seeing a certain type of body sexualised can make people feel as though they aren’t sexy if they don’t look that way, but this is changing! Lizzo, for example, quite simply said “I know I’m fat. It doesn’t bother me”. There’s always the assumption that being fat is automatically unhealthy and bad. Larger bodies exist, and therefore should be able to be admired and self-sexualised in the same way.  On the subject of Lizzo, a prominent black artist, there is also the issues surrounding the way that black artists tend to be over sexualised and fetishised.

Some artists may feel pressured to use sex appeal and feel it is the best way to sell their music, particularly women. There is a difference in the way that male and female artists are sexualised, and women see a lot more pressure to look and behave younger compared to male artists.

Using sex appeal to sell music is not inherently bad and can be extremely healthy and positive, and of course many of us find artists attractive and enjoy their sex appeal. However, the use of sex appeal should not be something that artists are pressured into, and only done by choice, if they feel comfortable”’.

When thinking about an artist like Jessie Ware, there is another interesting point. Being a mother to too young children, maybe society and the industry feels this is something not conducive with sex-positive and being sexual in any way. I do wonder whether there is a perception that women who have children cannot talk about sex! Jessie Ware, as she explained to People recently, is a sex-positive artist. She revealed how she is prudish too, but there is this importance to promote this progressive, open and unashamed attitude towards sex. It does not too be lurid or controversial. Rather, this is an artist having fun. No doubt that her That! Feels Good! Will influence many other artists and listeners alike:

“I was going to say — are all those sexual conquests in "Shake the Bottle" real?

Come on, I've been with my husband for 20 years! [Laughs] But it's fun. I think it's fun to put on an outfit. Whereas my mask, before, would be a strong suit and some makeup and a double hair bun in the first record; now, it's characters. Creating characters has opened up songwriting and storytelling for me. It's inspired by people like Grace Jones, RuPaul, B-52's. It's meant to be fun. And it is quite camp.

And your music is very sex-positive.

It's funny — it's like I'm having sex all the time. I'm definitely not! I'm really quite prudish.

Where does that come from then?

Probably wanting to have sex more! [Laughs] But there's power in feeling confident and proud of who you are. I think I feel very comfortable with myself. And so it's about pushing it a bit further. And I think that that's probably something that I've had to tell myself to be, and now I've said it enough times, it's drilled into my brain being sex-positive, and it's fun. It's what I enjoy writing about. It's what I think other people enjoy, too. It's not meant to be taken too seriously. It's meant to be enjoyed, with a nudge-nudge, wink-wink, you know?

There's a line in "Pearls" that says, "I'm a lady / I'm a lover, a freak and a mother." I'm curious, is that because when you have kids, society kind of says you can't be a sexual being anymore?

I think you're right. I mean, I've never thought about it like that... It's almost like a rebellion against all the kind of stereotypes we're given as being mothers, as being women in music and mothers — and me to own it. And whilst I try to own it in album three [2017's Glasshouse], where actually I was really struggling trying to straddle both worlds, now I'm like, "Take it or leave it. This is me, and I feel good, and I know what I'm doing." It felt quite fun and powerful to say that. And I do wear many hats, so it felt right to have a nod to all of them; I'm all these things”.

Maybe the dynamic and narrative has changed. When you see many mainstream Pop artists, you get the feeling that their songs about sex and sexual liberation are more from them and they are comfortable with – rather than it being something the label have made them do. There are male artists discussing sex in a positive and empowering way. An artist like Sam Smith can talk about hook-ups and the thrill and satisfaction of a brief tryst without it sending a bad message. Smith has revealed how they are a sexual being, and it is empowering for them and their audience to hear these body and sex-positive messages! This wave of sex-positive songs is not new. In 2021, Varsity wrote how artists such as Doja Cat and Janelle Monáe are helping to empower their female audience:

“In “Body Language”, Doja Cat croons ‘We ain’t afraid of sexuality’. A quick glance at her song names, including the tracks “Down Low”, “Cyber Sex”, “Bottom Bitch” and “Talk Dirty”, confirms this. The 25-year-old-rapper and singer always sounds like she is enjoying herself, revelling both in her sexual prowess and her musical virtuosity. Punning irreverently about her vagina and breasts in “Rules”, she reaches an impressive flow, which has led to comparisons with Kendrick Lamar: ‘you don’t dive in that pussy like dolphins If he don’t dive in that pussy like oceans, Twins look identically like Olsens’. Her songs express her desires with confidence and poise. “Addictions” is a disco bonanza of lust about ‘an itch I just can’t scratch’, while the rap chorus of “Rules” asserts her boundaries: ‘Play with my pussy, but don’t play with my emotions.’ Female masturbation, often taboo in pop-culture, inspires a gleeful rap verse in “Cyber Sex”. The singer also embraces the theatricality of sexuality and its rich potential as a source of self-expression in her often elaborately-costumed music videos and the playful song “Freak”. This is just one of many of her hits which has gone viral on Tik-Tok. Hopefully, the millions of teenagers dancing along to her unashamed celebrations of sexuality will grow to see their sexuality as she represents hers: under their control and for their own pleasure.

Janelle Monae also fuses pop and rap to celebrate sexuality’s fun and empowering potential. The 35-year-old actor, rapper, singer and activist is so committed to sex-positivity that she provided the voiceover for Netflix’s 2020 educational docuseries ‘Sex, Explained’. Her musical pride in her sexuality intersects with her celebration of blackness and femininity. The non-binary singer’s Twitter bio reads ‘pro nows they/she/them/her/freeassmuthafucka’, because in 2018 she came out as pansexual in a Rolling Stone cover story by declaring “I consider myself to be a free-ass motherfucker.” Her 2018 album Dirty Computer was accompanied by a 48-minute-long ‘emotion picture’ depicting a fantasy world where rebels and misfits, mostly the young, black, sexually empowered and queer, are hunted down as ‘dirty computers.’

Monae’s music vocally protests societal stigmatisation of female and queer sexualities and is far more political than Doja Cat. In “Q.U.E.E.N” (originally entitled Q.U.E.E.R) she chants: ‘Even if it makes others uncomfortable, I will love who I am’ like a mantra. At shows, she encourages her audience, often composed primarily of adolescent girls, to shout: ‘I’m dirty and I’m proud!’. “Screwed” shifts from carefree sexual hedonism to anger against financial and corporeal oppression of women: ‘Hundred men telling me to cover up my areolas/ while they’re blocking equal pay.’

Sexuality in Monae’s music can also be playful. “Make me feel!” is an upbeat romp through lust and love, with catchy synth and a tongue-click beat that was produced by her mentor Prince: ‘It’s like I’m powerful with a little bit of tender! An emotional sexual bender.’ The verse of “Pynk” alludes erotically to different parts of the female anatomy, before bursting into a chorus of ‘I like that!’ The music video epitomises feminine pride: Janelle and her backing dancers wear elaborate pink ‘vagina’ trousers. Monae is extremely aware of the empowering influence of her music, particularly for the culturally underrepresented black queer community. In conversation with the New York Times, she said “I’m proud when everybody is taking agency over their image and their bodies.” When she tells us to ‘Hit the mute button. Let the vagina have a monologue’, we should listen because what she has to say is well worth our time.

By giving sexuality an infectious new soundtrack, Doja Cat and Janelle Monae allow their predominately young listeners to see sex and sexuality positively: something to sing, dance and rap proudly about in the public eye, rather than a taboo to be hushed up. With Doja Cat and Janelle playing , we can rap in defiance of stigma, and celebrate our desires on the dance floor. As Doja Cat sings in “Cyber Sex”, ‘What a time to be alive!”.

 PHOTO CREDIT: Polina Tankilevitch/Pexels

Body and sex-positivity often works hand in hand. Being free to explore sex and confidently talk about the body and the physical without it being needlessly X-rated or doing it just for shock value. Also, sex-positivity in music is a wide prism. It can be accompanied by a Disco or Pop background. It can be more intense and explicit in terms of its lyrics, but it can be a positive message where there are no barriers or strings. Sending out the message – to women and non-binary fans – to be proud of your body and not be ashamed of sex. Fizzy Mag wrote about Kim Petras’ music and how it is bringing sex-positivity to the forefront and the masses. The German-born artist is definitely inspiring a huge number of people:

“All this sex positivity goes even further when it comes to Petras’ fans. A white, drop-arm sleeveless tank top donned by a fan reads, ‘I like Kim Petras and sucking cock.’ To the point and on the nose, just like Petras herself. This sex-positive attitude is empowering and changes attitudes generally towards sex and pleasure. In particular for the queer community. It seems tongue-in-cheek and funny, but the fact that a woman that has just scored a top 5 spot on the Billboard Hot 100 is promoting sex- and body-positive attitudes for everyone, regardless of gender and sexuality is a monumental step forward. Not to mention that she looks absolutely amazing while doing so. Go stream Slut Pop. Do it for the future.

 Everyone’s heard UNHOLY by Sam Smith ft. Kim Petras. It’s been playing everywhere since it came out. But religious imagery, sin, and sex have been on brand for Kim Petras long before this song blessed us.

For example, her most recent album release is titled Slut Pop, featuring tracks such as Treat Me Like A Slut, and Throat Goat. While initially amusing, it’s very empowering to hear women coming forward and embracing their sexuality directly, with no airs or graces about it. However, it’s not just her music that Kim Petras has been using to promote sex-positive attitudes but also her fashion and style.

For example, her most recent musical release was the single If Jesus Was A Rockstar. Not only does this put sexual themes into religious contexts, but all of the promo and album artwork shows Petras in mini-skirts, American flag wrap tops, crop tops, and knee-high boots, all from different angles. This body positivity and, frankly, the strike back at religious conservatism via music and fashion is refreshing to see. The song absolutely slaps, by the way”.

I wanted to look at sex-positivity in music, as it is becoming more common and talked-about. As I said, I think attitudes and perceptions about sex have changed through the years. It has always been an essential part of music, but there have been periods where artists were seen as too revealing or using sex to sell music. You can use sex to sell music without it being a bad thing. If a label is guiding their artist in a bad direction and using them as a tool in that sense, then that is really bad. Whether sex-positivity is a cipher or out there and proud, it is encouraging and amazing seeing artists like Petras and Ware use sex-positivity in different and interesting ways. It is so important to spotlight sex-positivity…

IF it feels good!

FEATURE: That’s the Way Love Goes: Janet Jackson's janet. at Thirty

FEATURE:

 

 

That’s the Way Love Goes

Janet Jackson's janet. at Thirty

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RELEASED during…

 IN THIS PHOTO: Janet Jackson in 1993/PHOTO CREDIT: Ebet Roberts via Billboard

one of the finest ever years for music, 1993’s janet. was the fifth studio album from the legendary Janet Jackson. This masterpiece came out on 18th May through Virgin Records America. I wanted to mark the approaching thirtieth anniversary of a hugely important album that broke barriers. Giving more sexual confidence and power to women – and inspiring so many Black women around the world -, janet. transformed her from a rising and sometimes shy Pop artists to this confidence icon. An album that provided liberation and power to so many, janet. promotes safe sex and respect, but there is this more risk-taking element. A feminist who was sending out positive messages but, in the process, experiencing this awakening and transformation. Janet Jackson has truly announced herself as an icon. Prior to the 1993 album’s release, Jackson was at the centre of a high-profile bidding war over her recording contract. Look back to 1991, where her original label A&M wanted to renew her contract. At the same time, Atlantic, Capitol, and Virgin all tried to sign her. After meeting with Virgin owner Richard Branson, Jackson signed with the label. The contract was worth an estimated $40 million - making her the world's then-highest paid musical act. There was criticism that Jackson was getting acclaimed and opportunities because she was part of the Jackson family. Not beholden to or reliant on Michael Jackson – who, in the early-1990s, was receiving a lot of press backlash and his best recording years were behind him -, Janet Jackson wrote the lyrics for janet. and co-produced every track.

The fact that the album drops her family name and makes her seem separate from that association showed that she was independent and was not good or popular because she was a Jackson. She was a sensation and success because of her raw and innate talent. In terms of its lyrics, janet. is very much about sexual intimacy and safety – this was a departure from her conservative image. Highlighting safe sex, but also confident and unabashed in its intentions and passion, the album set a record for the highest first week sales for a female artist at that time. It has since been certified sixfold platinum by the Recording Industry Association of America (RIAA). An album that definitely inspired future Pop superstars like Britney Spears, Christina Aguilera, and P!nk, janet. ensured that she was a worldwide success and one of the most important artists in the world. Albumism looked back at janet. on its twenty-fifth anniversary in 2018:

“If they’re doing it right, album covers should tell the story of an artist’s development. Janet Jackson’s album covers—at least through 1997’s The Velvet Rope—most definitely reflect her development from coy, shy ingénue to empowered familial chain-breaker to the militaristic activism of Rhythm Nation (1989).

By the time janet (commonly stylized as janet.) surfaced in May 1993, the cover explained more than adequately that any shyness had vanished entirely from Miss Jackson’s artistic expression. Tousled curls tumbled in front of a doe-eyed come hither look that could lure a blind priest to turn their back on God and, though the shot featured only arms, neck and shoulders, it was clear that her days of hiding behind black boiler suits and baseball caps were long gone.

In the years prior to the release Jackson became the subject of a bidding war to secure her services for record labels. A&M had been her home and wanted to renew their arrangement (unsurprisingly given the enormous success of Rhythm Nation), but others wooed her. She eventually signed with Richard Branson’s Virgin label for what was (at that time) a record-breaking contract valued somewhere in the region of $40 million.

Making her the highest paid musical act in the world, it drew a line under those nepotistic notions and set her up as another member of the club that required only a first name for recognition. It also meant that there would have to be some payback, but in the US alone janet sold nearly 8 million copies and worldwide it reached 14 million. Swift and immediate was the payback.

What marks janet as different from its predecessors is the expanded musical palette served up. Having practically invented New Jack Swing and further established the Minneapolis sound on Control (1986) and Rhythm Nation, Jam & Lewis’ same formula wouldn’t necessarily work in the musical landscape of the time.

A couple of collaborations stand out immediately as compelling and interesting. Chuck D of Public Enemy lends his sonorous, pile-driving vocals to “New Agenda,” while even more intriguing is the presence of Kathleen Battle (an operatic soprano) on “This Time.” But beyond imaginative guests, Jam, Lewis and Jackson created an intimate atmosphere that allows Jackson’s lyrics and vocals to breathe life into their sensual soundscape.

“If” is a pounding, fuzzed-up, nasty-sounding track that drips with the thrill of lust at first sight. The verses paint an intimate picture of what she imagines that she and the object of her imagination get up to: “You on the rise as you’re touching my thighs / And let me know what you like, if you like I’ll go / Down, down, down, down.” Yet the chorus banishes any thought of making the imaginary real, as the thought of infidelity proves a Rubicon not to be crossed: “If I was your woman, the things I’d do to you / But I’m not, so I can’t, then I won’t but if I was your girl.” Evidence that although a desire for sexual release runs through the album, the heart of the family girl remains intact.

The other gem that stands proud is “This Time.” Bristling with hurt and betrayal, it stands as further testament to the chorus of “If”—sexual self-expression may be the name of the game, but not at the expense of her humanity. Gentle acoustic guitar leads the way before the eerie and totally unexpected sound of Kathleen Battle’s operatic vocals float as if by regal decree. And then the beat drops in a moment that is as memorable and spine-tingling as any in Jackson’s extensive and memorable back catalogue.

The second half of the album is mainly given over to whispered, breathy ballads. Jackson may not have the strongest voice in the world, but she serves them up with natural aplomb and style. Although “Again” topped the Billboard chart for two weeks late in 1993, its saccharine sound proved too cute for some, but this was the exception to the rule.

Among the rest of the album lies the steamy, sensual sensation “Anytime, Anyplace.” Offering proof, if proof were needed, that a freedom of sexual expression runs through the album, its seductively slow syncopation envelopes and whispers sweet nothings of an explicit kind: “In the thundering rain / you stare into my eyes / I can feel your hand / Moving up my thighs / Skirt around my waist / Wall against my face.”

Although this can be characterized as Jackson’s sexual awakening, it should be noted that the vast majority of the scenarios presented are sexual within the confines of a safe, consenting, exclusive adult relationship. There are no Bacchanalian orgies or 23 positions in a one night stand, rather she gives voice to the needs and desires of millions of “ordinary” women in relationships. By voicing them so successfully she enables the same conversations to occur in bedrooms the world over—she empowers as she sings.

It would seem that beneath the surface of the sexual sheen lay the same sweet natured ingénue, albeit one ready to get what she desired. How long that sweetness would last would be revealed on her next album The Velvet Rope (1997). But for now the sweetness remained allied to a sexual confidence that sent the album into the stratosphere”.

Alongside Janet Jackson, there were incredible female artists like Madonna who were giving us these albums full of intimacy, sexuality and sweat. Madonna released Erotica in 1992. In 1993, when janet. arrived, there were these inspiring and trailblazing women taking control and, in the process, influencing and connecting with so many other women. I want to finish with a review from Rolling Stone from 1993. There was no doubt that, in that year, Janet Jackson was one of the most important artists in the world. She still is, but from her 1980s success with albums like Janet Jackson's Rhythm Nation 1814 (1989) to the regency of janet. and 1997’s The Velvet Rope, this was a superstar in a league of her own:

“As princess of America’s black royal family, everything Janet Jackson does is important. WHETHER PROCLAIMING herself in charge of her life, as she did on Control (1986), or commander in chief of a rhythm army dancing to fight society’s problems (Rhythm Nation 1814, from 1989), she’s influential. And when she announces her sexual maturity, as she does on her new album, Janet., it’s a cultural moment. Start the clock: Janet Jackson, who suggested, “Let’s Wait Awhile,” and cooed, “Someday Is Tonight,” has been to the mountaintop and is ready for mo’!

Where “Someday Is Tonight” — the nervous breathiness of a virgin about to take the plunge — left off, Janet. picks up: in postorgasmic bliss. From the warm bed of soul sounds backing “That’s the Way Love Goes” to the “Come for me!” command that kicks off “Throb” to the love-filled exhibitionism of “Any Time, Any Place,” Janet. declares this woman ready to love and make love — and fuck.

Underrated but never under-bought, Jackson’s MTV-friendly image and in-concert lip-syncing have earned her more undeserved blows than Robin Givens. Janet.‘s complex sexual and diverse musical statements should win her critical respect along with pleasing her octillion fans. Janet.‘s Janet is a more complete sexual being than most of pop’s black women are allowed or allow themselves to be. No Hottentot Venus (an objectified, sexually available black female) exploiting her legs (Tina Turner), hair (Neneh Cherry) or blackness (black drag queen Madonna), Jackson evades reductive sexuality by demanding love and respect from both her partner and herself. She wants you to touch her, and love’s got to do with it because “that’s the way love goes.” Janet won’t stand for a trade-off — she wants love and sex.

Dignity firmly in pocket, Jackson is ready to try anything. You can view her various styles as a plethora of different positions. Janet. touches R&B, hip-hop, soul, funk, rock, house, jazz and opera with the singer’s pop sensibility. The mix may lack purity, but the ambitious choices and flexibility leave a bold impression.

Bold indeed are the juxtapositions of Jackson with opera star Kathleen Battle and Public Enemy’s Chuck D. Battle’s voice soars and sounds like an instrument imitating the human voice on “This Time,” while “New Agenda” finds Jackson gliding over hip-hop-inspired beats as Chuck bursts through. The lyrics of “Agenda” follow that same pattern: It fits a Jackson to write a song demanding a new program and leave the rapper to propose the plan.

On Control and Rhythm Nation, Jackson’s collaborators, producers Jimmy Jam and Terry Lewis, were hotter than a flame’s bright yellow center. Those albums are exemplary late-Eighties state-of-the-art R&B. But the Jam and Lewis fire no longer cracks and roars as it once did. Predictably, Janet shares the bill this time as coproducer, resulting in a less groundbreaking sound but a wider-ranging album.

The seventy-five minutes of Janet. are less long than long overdue. A significant, even revolutionary transition in the sexual history and popular iconography of black women — who have historically needed to do nothing to be considered overtly sexual — is struck as the what-have-you-done-for-me-lately? girl declares herself the what-I’ll-do-to-you-baby! woman. The princess of America’s black royal family has announced herself sexually mature and surrendered none of her crown’s luster in the process. Black women and their friends, lovers and children have a victory in Janet”.

As it turns thirty on 18th May, I wanted to spend some time with a truly astonishing album. The magnificent and timeless janet. is an album that is so widely played and enjoyed to this day. With gems and classics like That’s the Way Love Goes, Because of Love and (hidden track) Whoops Now, there is no denying that this album will be talked about for years to come as…

ONE of the best ever.

FEATURE: Spotlight: Connie Constance

FEATURE:

 

Spotlight

  PHOTO CREDIT: Holly McCandless-Desmond for NOTION

Connie Constance

_________

A phenomenal voice in music…

 PHOTO CREDIT: Joel Palmer

who had a particularly huge year last year with her album, Miss Power, I wanted to spotlight the amazing Connie Constance. I am going to come to some recent interviews – and one older one – to show why we should follow and support Constance. First, and from her official website, here is some biography about the Watford-born artist:

“In recent years, Connie Constance (real name Constance Rose Power) has been on a journey of self discovery. Though she is notably mild mannered, prone to fits of giggles and a self-described “fairy bitch”, she recently got her full astrological chart which described her personality type as an aggravator and it really resonated with her. “I’ve been doing that without realising it,” she says before her tone becomes incredulous. “I never knew it would be such a big thing to want to make indie music”.

Over the last few years she’s had to make bold moves like leaving major labels behind to carve her own path. She spent the last two years releasing on her independent label Jump The Fence and has now signed with indie label PIAS, she has been busy creating create indie pop tracks infused with punk and soul that feel true to her riotous roots. It’s taken some strength and convictions in her own voice. “I feel like I’m finally being treated as an adult and creative partner versus a young crazy creative girl,” she says. It’s a stark contrast from the days where she was making songs that didn’t sound like what she listened to. However as a Nigerian-British artist, she believes the UK music industry struggled to understand alternative women of colour as previous label staff likened her to other mixed race British singers Corinne Bailey Rae, Mabel and Jorja Smith (“I was like dude let them do their thing”) and told her “we don’t know how to market you with braids”.

The Watford-born 27-year-old has remained laser focussed on putting out music that fits how she sees the world rather than how the world sees her. And she takes her place among rising alternative black girls from WILLOW to Nova Twins who have proved that natural hair and underground sounds don’t make you too niche.

Her new album, Miss Power, is both nostalgic and zeitgeist, imbued with powerful drums, playful guitar riffs, and anthemic feminist rage via playful lyricism like: “I’m not your perfect little princess and I have my own unique vagina”. These lyrics hint at the way women have to rally against external voices.

She says that this album is the first time she’s felt she’s done exactly what she wanted to do, dubbing her sound “a fairy bitch genre” as that’s the vibe she feels when she wakes up in the morning. The concept record was written as if an ancient fairy from tens of thousands of years ago was frozen in time and they woke up today. It starts with being wowed by the excitement, the shining lights, the buzz and how fun it is to be young right now, but then it spirals downward as signposted by titles like ‘Hurt You’ and ‘Kamikaze’, which she calls a “feminist anthem”.

Connie’s excitement to venture out into the world as her authentic self is palpable, and by the sounds of it, she’s ready to step into her power”.

I want to go back to an interview from 2016. In Spotlight, I normally highlight artists who are fairly new to the industry. Even if Connie Constance has been putting out amazing music since her late-teens/early-twenties, she is starting to get a lot more focus after the release of her second studio album. Someone who is rising through and showing why she is going to be releasing music for years to come:

“Your debut was around a year ago with the song Stars. In its music video we can see your dancing skills, as well as in that for Books, which doesn’t come as a surprise considering that you studied for a year in the Urdang Academy. When did you realise you didn't want to continue in the dancing scene?

It was a number of things. I was working front of house at the Lyceum Theatre, where the Lion King is shown; after watching the show over 100 times I realised that if I was to graduate The Urdang Academy, not only was this show one of the few West End musicals that I’d even be considered for (due to being mixed raced), I also couldn’t face the repetition of performing the same movements and singing the same songs 8 times a week.

I had always loved dancers that no one could copy, that were incomparable. At dance school you’re taught to become a blank canvas, someone who can copy movement precisely and powerfully. I do not disagree with this, as this is what you need to be in order to be successful in the dance industry. However, it's just not the path I want to follow in any creative industry.

It was a decision that changed your whole life. How do you feel when looking back at this past year?

I’m forever in and out of shock but always grateful for this past year. I have realised how naive I was to decide to leave one of the greatest performing arts schools in the country to pursue a career I knew nothing about. Naivety can be harmful in most cases, but without it I don’t think I would have had the self-belief in my work, my lyrics, my scruffy messy notepads, needed to achieve any dream.
I have learnt many lessons this year, one of them being that If you look at the world in wonder, with eyes of freedom to do anything, then you can build a new reality step by step, one change at a time. I’m going to be forever grateful for this 21st year, as I’ve met some of the most incredible dreamers and go-getters in the world. The type of people that make you feel guilty for being less than you could be!

You come from a town called Watford, in the northwest of London. How does living in the city affect the music you create?

London is so hectic, by the end of each hour of waking life I’ve probably felt over ten emotions. If I had a studio, a band and an audio engineer in my head I could probably write an album a day. I don’t think I know one twenty year old in London that doesn’t have some kind of mental or social health issue. Very harsh, but very rewarding if you work hard. Everything I feel, see, conversations I have, situations of love and conflict that I get into, I write about.

PHOTO CREDIT: Christian Cassiel

You take part of an historical movement in which black women are empowering themselves to do whatever they want to do. But do you feel like historically jazz is the only genre they can rule in the music industry?

In the past and present, black women absolutely shake the world with their ownership vocally of those genres. But no, I’m pretty sure black women already rule them all, with Beyoncé and Rihanna fronting the pop industry for females worldwide.

I think the hardest place for black women is actually England. I don’t think England quite understands how to have a black female ruling the pop or indie industry, or just black people in general. The last black woman with an afro that got any exposure was Mel B, and she was called “Scary Spice” – so you know there is every ceiling in the British music industry to be broken right now.

I assume that growing up as a mixed-raced kid in a white family wasn't easy, especially when there weren't a lot of black women referents in ‘90s Europe. But, as you’ve just mentioned, you found someone to look up to in Mel B. Have you thought of yourself as a potential referent for girls nowadays?

Definitely, the boundaries are there to be broken and for a much bigger picture than myself. Every young girl and boy deserves a representative in the limelight, and I’m more than happy to take that responsibility if the opportunity comes.

If you could give an advice to young females trying to pursue a career the music industry, which would it be?

Find yourself first. Don’t let anyone tell you how you need to be in order to be successful. You're a perfect circle”.

I am going to move to The Line of Best Fit. Isabella Miller spoke with Connie Constance about her album, Miss Power. It is an album for those who crave power and want to take control. It deals also with breaks-ups, mental-health, and healing. Constance is one of the most fascinating and inspiring artists we have in our midst:

“Constance's goal to create a record that not only invites recognition of her own internal power, but also asks the listener to do the same, was made possible through the help of producer Samuel Knowles. Known professionally as Karma Kid, Knowles has worked with the likes of Shygirl and Ms Banks and was also behind Constance’s 2021 track “Prim & Propa.”

“After Sam and I made [that track], I had a moment where I was like ‘this sums everything up’. It was the first time I had made a song that had real depth to the lyrics but also the chaos,” Constance reflects. “The soundscape made sense as well with the funky guitars recorded really close to the mic. It has this feeling of being a tune played round a fire but also outside in a festival. After we made that track, we decided that this was the time to make an album. We didn’t put any time stamp on it or any deadlines… We just decided to do two sessions a week and see what flowed. We had curveball sessions as well which allowed us to explore more and begin experimenting.”

PHOTO CREDIT: Phoebe Fox

At the time, she was without a label, having made the difficult decision to go independent before joining indie group PIAS. This shift, she explains, was integral to the record’s formation. “Going independent meant I had regained my freedom. I love being with my indie label because it really is a freeing experience and has allowed me to feel even more empowered,” she says of the change. “My gratitude levels are through the roof, and I just feel so grateful to have a team of people who have allowed me to feel like I have a promising career in music.”

Although her time with previous label AMF records meant she felt unable to achieve her musical goals, Constance remains proud of debut record English Rose, and confident now in the direction of her career. “The thing is, although the previous label was trying to push a certain sound from me, I still managed to make an album with them that I am really proud of,” she admits. “As much as I knew that it wasn’t the right place for me and that I needed to get out because I wasn’t being seen how I wanted to be seen, I still managed to get a great album out of it… I feel [the move] has taught me how to grow not only as a musician but as a businesswoman. I know what works now and who I need to work with to elevate me. [I like] working with people who are sick at what they do.”

 Another example of the magic that has come from this shift is latest single “Hurt You”, which Constance coins her ‘revenge song’. Fusing indie-pop guitars with her soulful voice and clever lyricism, the track again unpacks emotions and experiences that have served as writing fuel. “This song is more reflective,” she divulges, “it’s about recognising things that have happened that made me feel trapped. If I’m in a place where I don’t feel strong, this song seems to help me find strength and reminds me that I’m thriving.”

Nearly four years since her debut album, Constance has established herself as one of the UK’s most exciting indie-pop goddesses, releasing material that takes inspiration from a host of British alternative music titans like Bloc Party and The Arctic Monkeys, while not limiting herself to one sound and constantly exploring new ways to create.

As she continues to rise through the ranks, the last couple years have seen her opening for Yard Act and recently finishing a tour with Nova Twins. With a catalogue of dance-ready material, she creates a space for people to relate, feel represented and, of course, empowered. Accruing a loyal fanbase, her upcoming UK tour has already sold out way in advance. Considering how her music has connected with people, Constance says, “I find it really exciting that people mess with the tunes. Sometimes I feel like I am building my own little warrior army. I love it.” 

The list of reasons as to why Constance has become a darling of indie pop are endless, whether it be her ability to not tie herself to one sound, write lyrics that inspire, express a level of vulnerability, and the self-reflection in her distinct, soulful vocal. Yet what is often highlighted, is how she stands amongst a legion of Black women in alternative music who have changed preconceived perceptions of genres such as indie, rock and punk.

Debunking these stereotypes is something Constance not only aims to do with her music, but also through an event she runs called Black Punk Party. “It’s a way to cultivate a world for Black punk and indie artists. It’s a freeing experience for everyone who comes and everyone who plays,” she says of the initiative. “I also do a mail out called Black Punk Mail where I put loads of Black, mixed-race, and ethnic alternative artists in a mail out, artists from future, past and present. I think it’s important for us to know what’s going on in our community”.

There are a couple of other interviews that I want to bring in. DORK chatted with Connie Constance back in November. I discovered her work a few years ago, but I sort of dipped in and out. That is my bad! Miss Power firmly reintroduced me to someone that I need to hold close. Whereas she may not be a ‘rising artist’ anymore, it is a definitely a moment where she deserves spotlighting – and she is moving to a new level and plain:

“In practical terms, Connie centred the album around a typically idiosyncratic and fantastical story. “I wanted to tell a story of what a fairy might feel like if they woke up a million years later and were in our world today and what they would see and find out about,” she illustrates. “I wanted to use my experiences to write about those situations. That was the overall concept and how we structured the album. It starts off with ‘In The Beginning’, where the fairies come here. I wanted the fairy to be non-binary, so anyone could put their head on and be that person, and the next song is like woahhh, this place is sick. Like when you first come to London. I was like, oh my god, this food looks so good. Everything is so overstimulating and exciting. Everything I want to do in my life, I can do here. Then it takes a deeper turn and gets darker when obviously it’s not all glitz and glam, and then at the end, the finale is this arghhh this was so crazy, but I think it’s going to be ok.”

The record is a swirling mass of emotions and feelings. A roller coaster in the best possible way. One of the many highlights is a raging feverish out-of-control rampage of a track called ‘Kamikaze’ that highlights Connie’s anger at some of the treatment she has faced. “The only way I can express ‘Kamikaze’ is just punk,” she says. “It’s the only genre or energy that this could be in. I’m meant to be this perfect human, but I’m just not. No one is a perfect being. ‘Kamikaze’ is just pure ‘fuck you’ anger. It’s the purest form of, I’m out. I’m done. I cannot do this anymore. I cannot be pulled this way or that way. It’s a reflection, sadly, of some of the recent things. I hate talking about people passing, but in the media, people drag females left, right and centre and expect them to just get on with their day like it’s not going to affect their mental health and sadly, it does, and it can be catastrophic.”

At times it was overwhelming as Connie explored some of the darker themes and personal traumas contained on the album. “It can be hard unpicking a wound. You kind of think, no, I don’t want to talk about that, but for me, I know that I have to. I can have fun with the upbeat indie festival tunes, then it’s going to get to the point where I’m going to have to say ok, let’s unpick. There were definite tears in the making of the album.”

Having created a career-defining album tailor-made for captivating audiences on every level on the biggest stages, Connie is very much conscious of her position as an inspiring figure for people seeing a young black woman making indie music on their own terms, something Connie found in herself discovering Santigold (“She’s my queen”) and X-Ray Spex. “Every voice is important,” says Connie passionately. “It’s important that young people growing up making music can look up and think I can do whatever I want. I can make free jazz if I want to. Skin tone and my upbringing will not dictate the music that I make.” Perhaps when she takes ‘Miss Power’ out on tour and brings it to life on stage both on her own shows next year and supporting Yard Act, there will be a whole new generation inspired to follow their own path. “That’s the dream, that’s the goal. To take over the world with more Connie Constances,” she laughs”.

I am going to finish off with DIY. They spoke with her about her second studio album, and why she is a huge contender in modern music. We all look forward to seeing where she heads next – but go and follow her if you do not know about her and that awesome music:

“That confident, no fucks given attitude is most notable on thunderous album track ‘Kamikaze’, with its screaming intro reminiscent of The 1975’s ‘People’. On it, Connie tells the listener: “I’m not your perfect little princess, I have my own unique vagina”. “Sometimes, something will come into my head and I’m like, that’s really funny but should I put it in a song or just enjoy it in my own head?” she giggles. “I was actually making the song with two of my boys and they were like ‘What, Connie?! Are you really gonna say that?’ And I was like, ‘Yes, we’re gonna say that!’

“I knew that I wanted a feminist anthem, that was essential,” she continues. “I’m surrounded by super strong, feisty women, and I needed that energy to be out there and I needed to represent that in my music. That was a strong thing throughout the album - if someone is getting ready in the morning and they put on that tune and they’re like, ‘Yes, I am a bad bitch!’. That was really important.”

Elsewhere, Connie gets more personal, pinpointing ‘Heavyweight Champion’ with its bridge of “I don’t know why I wait for something new/ When I will change but you’ll always be you” as a prime example of her letting the listener in. “I’ve been wanting to write a song about my dad for ages,” she notes. “I wanted to write this song about how we’ll never actually be able to forgive because of mental health. What he’s going through, we’ll never be able to be great, which is sad. But we can be in this other state, and that’s kind of good.”

Including her favourite lyric - “Mental illness in a feather boa” - she continues: “There’s so much talk about how everyone wants to love themselves and self-love is so important, and it’s good, it’s healthy, but when you’re in that bad place it’s not that glamorous and a self-help book really isn’t going to solve the issue. The feather boa is like, ‘Yeah, self-love!’, but actually, mental illness fucking sucks.”

Taking the listener on a magical journey from start to finish, ‘Miss Power’ finds Connie embracing her freedom and creating a raw body of work that’s not afraid to get deep whilst making you dance. “With my music I want people to listen to it when they’re going through something and not feel the pressure to feel better if they’re not ready,” she explains. “That’s why I write songs, because sometimes I just need something to soundtrack this space and not shift me out of it.

“[The album] has quite a scope of energy,” she adds. “I do want [the listener] to go through this journey, but I feel like it’s more about feeling. I want the naughtiness, and also this euphoric sense of freedom”.

An artist that I could and will definitely recommend to everybody, go and listen to Connie Constance’s music and especially her latest album, Miss Power. Here is an artist who has built her foundations and empire and is absolutely crushing it! Such an inspiration for other artists and Black women reclaiming their power and purpose, she is a hugely strong and compelling presence. We all need to ensure that we give her music…

MASSIVE respect.

____________

Follow Connie Constance

 Official:

https://www.itsconniesworld.com/

Instagram:

https://www.instagram.com/itsconniesworld/

Twitter:

https://twitter.com/Itsconniesworld

Spotify:

https://open.spotify.com/artist/4RB2kk5dmocmMiHFBlmOEt?si=BdN66FO9SgOFvTscMA5bAw&nd=1

YouTube:

https://www.youtube.com/channel/UCg64aZCIFtsW2LHcJABU7hw

Facebook:

https://www.facebook.com/itsconniesworld

FEATURE: The Digital Mixtape: Ladies First: Songs from Rising Hip-Hop and Rap Queens

FEATURE:

 

 

The Digital Mixtape

IN THIS PHOTO: Omeretta the Great/PHOTO CREDIT: Arnelle Yvette via Bleu Magazine

Ladies First: Songs from Rising Hip-Hop and Rap Queens

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I won’t be able to include…

 IN THIS PHOTO: Bree Runway/PHOTO CREDIT: Lucero Glow

every incredible name here, but I wanted to compile a playlist of the best female rappers coming through. There are a couple of reasons. In addition to highlighting their talent and strength, I also wanted to continue a run of feature ahead of the fiftieth anniversary of Hip-Hop’s birthday. That happens in August. Here are details and history as to how this amazing genre started life:

“Like any style of music, hip hop has roots in other forms, and its evolution was shaped by many different artists, but there’s a case to be made that it came to life precisely on August 11, 1973, at a birthday party in the recreation room of an apartment building in the west Bronx, New York City. The location of that birthplace was 1520 Sedgwick Avenue, and the man who presided over that historic party was the birthday girl’s brother, Clive Campbell—better known to history as DJ Kool Herc, founding father of hip hop.

Born and raised to the age of 10 in Kingston, Jamaica, DJ Kool Herc began spinning records at parties and between sets his father’s band played while he was a teenager in the Bronx in the early 1970s. Herc often emulated the style of Jamaican “selectors” (DJs) by “toasting” (i.e., talking) over the records he spun, but his historical significance has nothing to do with rapping. Kool Herc’s contribution to hip hop was even more fundamental.

DJ Kool Herc’s signature innovation came from observing how the crowds would react to different parts of whatever record he happened to be playing: “I was noticing people used to wait for particular parts of the record to dance, maybe [to] do their specialty move.” Those moments tended to occur at the drum breaks—the moments in a record when the vocals and other instruments would drop out completely for a measure or two of pure rhythm. What Kool Herc decided to do was to use the two turntables in a typical DJ setup not as a way to make a smooth transition between two records, but as a way to switch back and forth repeatedly between two copies of the same record, extending the short drum break that the crowd most wanted to hear. He called his trick the Merry Go-Round. Today, it is known as the “break beat.”

By the summer of 1973, DJ Kool Herc had been using and refining his break-beat style for the better part of a year. His sister’s party on August 11, however, put him before his biggest crowd ever and with the most powerful sound system he’d ever worked. It was the success of that party that would begin a grassroots musical revolution, fully six years before the term “hip hop” even entered the popular vocabulary”.

To celebrate incredible queens who are adding their stamp to Hip-Hop and Rap (with some awesome MCs in the mix), below is a playlist featuring some of the finest songs from the genres. As Hip-Hop is fifty in August, I know that the women who were pioneers and hugely influential will be covered. They are so important when it comes to the conversation around Hip-Hop and how it broke through and has evolved through the years. The generation of women in Hip-Hop coming through will add their stamp and be remembered years from now. Take a listen to tracks from…

THE awesome artists we need to watch.

FEATURE: Revisiting… Dream Wife - So When You Gonna…

FEATURE:

 

 

Revisiting…

Dream Wife - So When You Gonna…

_________

IN preparation for…

a new album by Dream Wife, I wanted to return to their previous/current one. The third album from Alice Go, Rakel Mjöll, Bella Podpadec arrives on 9th June. Social Lubrication is going to be among the best albums of this year I can feel. In terms of material, singles such as Orbit, and Hot (Don’t Date a Musician) are among the best cuts of Dream Wife’s career so far. The London-based (originally from Brighton) band are among the most important and phenomenal we have. Following from their eponymous debut album of 2018 – which got positive reviews for the most part -, they followed it up with the amazing So When You Gonna… Another ‘pandemic album’, it was released on 3rd July, 2020. Like all artists who release an album, that need to tour it was crucial. Dream Wife were a bit restricted. That is not going to be the case with their approaching third album. They will be able to take that on the road for sure! In spite of the fact that So When You Gonna... came out in 2020, it still resonated and found a big fanbase. Reaching eighteen in the U.K., it was also accompanied by some terrific reviews. I shall come to a couple of those. First, I want to highlight an interview with the band from last year. There was not a lot of promotion around the album at the time. I think there may have bene a couple of press interviews and some online stuff but, for such a terrific trio, I thought that more big publications and websites would have come their way.

Via Zoom, Rakel Mjöll spoke with The Brighton Source about what was coming next for Dream Wife. It is clear that So When You Gonna... struck a chord with so many people. A hugely celebrated album, it must have been a relief to get it on the road:

“After releasing their second album ‘So When You Gonna…’ during the formidable first peak of the pandemic, Dream Wife have now embarked on a long-awaited UK tour. They’ve also found time speak to SOURCE, which is why I’m peering through a box-like window on a laptop that’s seen far better days, meticulously checking for visible remainders of this morning’s breakfast on my jumper. This is the all-too-familiar anxiety of the Zoom call, a ritual that only a post-pandemic society could have become accustomed to. Within a few moments Dream Wife’s Rakel Mjöll greets me with a view of a small, homespun practice space in London.

I’m eager to discuss all that’s on the horizon for Rakel and her bandmates, guitarist Alice Go and bass player Bella Podpadec, in the coming months. So I plunge straight in with questions about the tour, which is headed to Brighton where the punk rock/indie trio originally formed.

Rakel: “Our whole album is about our love for live music. It was weird releasing an album during a time when live music wasn’t an option. It’s really great to finally get to take these songs out on the road and see them come to life. This band is very much a live band, we completely thrive off and are inspired musically by a live show setting and the energy and the magic that happens. It inspires most of our music and how we approach creativity.”

As we talk, there’s an almost childlike sense of elation that cascades out of each response. The current tour seems like a cathartic transformation for the group after the perpetual uncertainty of the pandemic. It has been a heavy weight on many musicians, especially those who seek inspiration in the energy of live performance. The chance to reconnect and share their new songs with a live audience was a long time coming, with the band first returning to festival stages last summer.

Rakel: “It was a huge contrast to our debut album where the first year we played 120 shows, and 155 the year after. We were consistently in a van or at an airport and just playing these shows, often not even realising what city we were in, but that was the beauty of it all. We’re not really a band that can go to a cabin for a month and write a rock album, it’s a lot better for us being inspired by people.”

 Despite the postponed tour, ‘So When You Gonna…’ reached #18 in the UK Album Chart and was named one of Rough Trade’s Top 10 Albums of 2020. The record, which was produced by an all female/non-binary engineering team, was flawlessly mixed and produced by Italian record producer Marta Salogni.

Rakel: “We chose Marta because she was simply the best. We were thrilled to work with her. We had the studio for a month and it was such a beautiful time we spent together, it felt really safe which is important when you’re creating something. It’s nice to be able to feel vulnerable whilst also being loud, and to work with people that make you excited to show up. We hired Grace Banks as the engineer and the tracks were mastered by Heather Kedgeree in New York. All these people were incredibly talented in their own fields and we felt so honoured and blessed to work with them.”

“It’s also just really important to practice what you preach, and we speak a lot about visibility. But it’s one thing talking about it and it’s another doing it. I mean hiring people that you believe in and speaking openly about how only 3-4% of western albums currently being produced have a non-binary or female producer on it. That’s such a small number and I think it’s really important to highlight that this is something that really needs to change. It’s no different to how consumers want to change things, like where you buy, where you shop, it’s the same with how you make albums. It’s about how you can contribute to these changes as well”.

I would urge people to revisit So When You Gonna... ahead of the release of Social Lubrication. Their upcoming third album might be the strongest yet! Dream Wife have got stronger and more confident with each album. Growing in terms of their songwriting, I do have a lot of love for Dream Wife and So When You Gonna... The latter is a tremendous album that I want people to have a listen to. This is what NME wrote in their review:

“Brighton trio Dream Wife, who last year headlined one of NME’s Girls To The Front gigs – showcases for female and non-binary artists – have never taken anyone’s shit, and they’re not about to start now. Their stellar self-titled 2018 debut album was stuffed with feminist punk anthems and Rakel Mjöll (vocals), Alice Go (guitar) and Bella Podpadec (bass) have delivered an outspoken, subversive follow-up.

‘Sports!’ is a perfect album opener. With a discordant guitar riff, Mjöll comes in with “fuck sorry / fuck please will you so kindly start again”. It is a call-to-action for womxn everywhere – stop apologising for what you do, and just do it.

‘Sports!’ is an urgent and adrenaline-fuelled song, layered with many different meanings and dripping with sarcasm. The song is an ode to the time the band spent together while writing this record, expelling some of their post-tour energy after spending nearly two years shouting and playing crashing guitars on stages across the world. It’s a playful track full of sport clichés, as Mjöll sings “put your eye on the ball when it’s in your court”, with the song exploring the sexist trope of male condescension in sport. “Do you even play this sport?” she asks ironically.

The song’s hook sees her repeat “put your money where your mouth is” – and Dream Wife certainly do that. The band have been outspoken about the gender inequalities in the music industry and wider world since their inception, and worked with an all-female recording team for ‘So When You Gonna..’., including producer and mixer Marta Salogni (who’s helmed projects from Björk, Holly Herndon and FKA Twigs).

The team of womxn who supported this album can be heard throughout the record – it just sounds organic and comfortable. “It was amazing to work with this community of womxn who are supporting each other in an industry that is so male-dominated, bassist Bella Podpadec has said in a statement. “It was a way of us practicing what we preach.”

‘So When You Gonna…’ is not all heavy garage-punk, though. Though the album is made up of shorter, punchy tracks, it is filled, too, with more emotional, quieter heartfelt moments too, which switches from riot grrrl band to indie anthems. The emotional crux of the album occurs on ‘Temporary’, a song about miscarriage: “If the heartbeat fails / Know I’m here / With a full embrace / How is it to love and live temporary?” It’s refreshing to see a topic usually so surrounded in shame sung about so openly, the band not shying away from describing the pain miscarriage causes, but also uplifting the womxn who have experienced it. “With every loss, how do you carry through? / Know you’re brave to jump back into / I’ll applaud it”.

On ‘After The Rain’ they address abortion, another taboo and difficult topic. As stories of reproductive justice and abortion rights dominate headlines, Mjöll lay herself bare, revealing “I’m feeling very honest today” on the first line of the song. Following in a similar  vein to that of the band’s 2017 song ‘Somebody’, which explored sexual assault, the music slowly crescendos as Mjöll cries out: “It’s my choice, my life / iI’s my body, my right”.

The band are the queens of vocal asides, a fact no more apparent than on the title track, which sees spoken-word missive overlap with electrifying screamed vocals. “Pull me closer” Mjöll sings before the whispered response: “just a little bit.” Here they’re telling womxn to speak up for what they want, to be unashamed, direct and fully communicate their desires. She repeats the lyric “so when you gonna kiss me?” over and over, until at the end, we get a classic Mjöll vocal aside in the punchline: “Too bad they were a bad kisser.”

So ‘When You Gonna..’ is also a call out to a disenfranchised generation. Dream Wife challenge the next generation of singers, producers, mixers, writers, guitarists, filmmakers and more to just do it. “You do you / Don’t waste your time with fools who don’t value you”. At its core, the album is about stopping waiting and starting doing, with a ‘now or never’ attitude. On ‘RH RN’ – a shortened version of the phrase ‘right here, right now’ – the band repeat “We are the youngest we will ever be / We are the oldest we have ever been / Right here right now”. It’s a call to live in the present, an invitation to stop waiting for perfection and to use your talents as best you can.

With a mixture of classic punk and dance-pop, Dream Wife also hark back to the early New York sound of the Yeah Yeah Yeahs, with a heavy dollop of riot grrrl attitude. The band have extended the ‘girls to the front’ ethos into every part of themselves, from production to music to live performances. With so much honesty packed into the 11 tracks, the album is an invitation and a challenge to go after what you want – without apologising for it”.

I will end with a glowing review from The Line of Best Fit. They highlight the wit, variation, importance and urgency of an album from a trio who were definitely breaking through. Building on the promise of their eponymous 2018 debut album, it is a shame that the pandemic curtailed any plans to embark on a big tour and solidify their reputation as one of Britain’s best live bands. In months since, they have definitely confirmed that. With another album due soon, you will want to catch them if you can:

“Dream Wife is a band built on guts – an art school experiment that turned into something special, because they wanted it to and dared to run with it. Whilst not as loud or as brash as their self-titled debut, So When You Gonna… is a record that shows Dream Wife bolder than ever, asking questions and opening doors that few are willing to look at. It asks you what you want and challenges you to go after it.

The opening track, and lead single, "Sports!" is a playful ode to moments spent together in between writing the record, as well as a satire on the seriousness with which people approach sports, with vocalist Rakel Mjöll toying with clichés of sport-talk, singing “dropping balls / missing goals” and “do you even play this sport?” – sarcasm dripping from every word. It’s heart lying in the classic sexist condescension of men explaining sports to women.

"Hasta La Vista" is more subdued in tone, but equally delightful. “It’s about accepting and embracing change and being thankful to what was and what is today” explain Dream Wife, something they found themselves grappling with when returning home after seemingly endless touring in 2018. It’s a far poppier song than any of their previous output – less riot grrrl, more Blondie – but with a very Dream Wife groove. As they sing “hasta la vista baby / ciao / goodbye now”, it feels like a clearing out of old patterns, and a quiet thank you to those same things.

"Temporary" is the warm, emotional peak of the record – it’s a tender song written for a friend of the band who had a series of miscarriages. Mjöll softly sings “know I’m here with a full embrace”, holding loving space for that grief, whilst also gently assuring that “you're brave to jump back into it” and hold onto hope after heartbreak. The band ask intimate, unanswerable questions of “how is it to love and live” when that being is so temporary, inviting listeners to explore their own experiences of loss – whatever that may be.

It’s the album’s titular track that stands out. Coming in fast screaming “WHEN YOU GONNA KISS ME?” – a true punk song, both in sound and sentiment. The band say it is about “wholehearted consent” and “communicating your desires” rather than remaining timid and quiet about what you’re feeling. They are unabashed in expressing their attraction, singing “words begin to fall out of your mouth / what a lovely mouth” and in asking for more. “Pull me closer (just a little bit closer) / by the waist and move me higher up” – it’s direct, specific, and unapologetic for it.

There are one or two slightly lacklustre moments, such as "Hold On Me", which doesn’t feel like it belongs, but they are far outnumbered and outshined by the groove of songs like "Old Flame" and the smart, questioning lyrics of "Validation". It’s a record that challenges complacency – in our personal lives, and in the wider world – and reaffirms Dream Wife’s ‘girls to the front’ ethos. Whilst not as wild as their previous output, So When You Gonna… is as topical and as empowering as the band have ever been. “Fuck sorry / fuck please” when are you going to go after what you want without apologising for it?”.

If you have not heard the brilliant So When You Gonna…, then go and listen to it now. You can pre-order Social Lubrication. I am predicting it will be among the best-reviewed albums of this year. The phenomenal Dream Wife need to be in your life! Such an awesome and essential force, they provided their brilliance through So When You Gonna… This is a remarkable album that you…

HAVE to revisit.

FEATURE: Deeper Understanding Through Moments of Pleasure: Kate Bush’s Director’s Cut at Twelve

FEATURE:

 

 

Deeper Understanding Through Moments of Pleasure

Kate Bush’s Director’s Cut at Twelve

_________

IT is not often I get to…

write about a Kate Bush anniversary in May. She normally releases albums in the autumn and winter months, so to mark a rare spring release is great. Her ninth studio album, Director’s Cut, was released on 16th May, 2011. Comprised of reworked versions of songs from 1989’s The Sensual World and 1993’s The Red Shoes, three of the songs on the album were re-recorded completely. All the lead vocals on the album and some of the backing vocals have been entirely re-recorded; some of the songs transposed to a lower key to accommodate Bush's matured voice. Additionally, the drum tracks were reconceived and re-recorded. It is a great album that was a first for Bush. She had not reconstructed and reworked her older songs before. Reaching number two in the U.K., I wanted to look ahead to the twelfth anniversary of Director’s Cut – and there may be one or two other features about it in the week or so. There are no interview transcripts that I could find, so I wanted to bring in a couple of features/reviews that praise the incredible and unexpected release from Kate Bush. I think that, after 2005’s double album, Aerial, maybe there would be a new album from her a year ore two later. After twelve years, Aerial was a huge relief for those wondering if Bush was still recording! Maybe there were nerves that this was it after we got into 2011. Not only did Bush provide an album in May. In November, she released her current studio album, 50 Words for Snow!

I want to bring in this DIG! feature from 2021. They note how we get this snapshot about how far Bush had come as an artist. You get moments of pleasure from these new versions. Depths to tracks that might not have been there originally on The Sensual World and The Red Shoes. Also (ands forgive the pun!), one gets a deeper understanding of an artist who reworked songs many might not have heard. I also think that Director’s Cut compelled people to check out The Sensual World and The Red Shoes:

“With hindsight, the move looks like a warm-up for Bush’s next album proper, 50 Words For Snow, which followed Director’s Cut’s in November. Revamping her old material also gave Bush the opportunity to right some creative wrongs from her past. Since originally releasing them, she’d grown dissatisfied with the production of both The Sensual World and The Red Shoes.

“I just kind of felt like there were songs on those two albums that were quite interesting but that they could really benefit from having new life breathed into them,” she told Dimitri Ehrlich for Interview magazine. “There was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state-of-the-art at the time – and I think everyone felt pressured to be working that way. But I still remain a huge fan of [analogue]. There were elements of the production that I felt were either a little bit dated or a bit cluttered. So, what I wanted to do was empty them out and let the songs breathe more.”

Three of the songs (This Woman’s Work, Moments Of Pleasure, Rubberband Girl) were re-recorded completely for Director’s Cut, while the drums on all of the tracks were replaced by studio ace Steve Gadd (Aretha Franklin, Paul Simon, Frank Sinatra, Steely Dan). Danny Thompson was brought in on bass, and new backing vocals were provided by Mica Paris, Jacob Thorn and Kate’s son, Bertie McIntosh. Most importantly, Bush herself re-recorded her lead vocals for each of the song. Taken together, the overhauls give a new perspective on the material – the studio sheen associated with the late 80s and early 90s is stripped back, and the songs feel warmer and more welcoming. What’s more, they better suit Bush’s more mature, less dramatic vocals, bringing out new meaning in her lyrics.

The only song with “new” lyrics was Flower Of The Mountain (originally recorded as The Sensual World’s title track), which, in place of her original lyrics, now used an extract from James Joyce’s Ulysses – just as Bush has originally conceived the song. While the writer’s estate had blocked her from using his text back in 1989, come the recording of Director’s Cut, she was finally granted permission. Joyce’s words – drawn from the novel’s closing soliloquy by Molly Bloom – helped transform the track from a glossy, radio-friendly single into something more considered and languid. A similar effect was achieved on much of the rest of Director’s Cut, notably with a moving take on Moments Of Pleasure which, once an ecstatic celebration of friends and family who had passed away, had been transformed into a hushed elegy.

Meanwhile, Bush saved the most radical reinvention for one of her most-loved songs, This Woman’s Work. Recast as an ethereal ambient ballad, with Bush’s lower vocal range and thoughtful delivery lending it an air of tangible vulnerability, the re-recording also demonstrated Bush’s artistic confidence – at this point in her career, she was free to follow her muse without considering a song’s hit potential. The results led to some glorious music.

Released on 16 May 2011, Director’s Cut may at first have seemed like a curio, but a closer listen reveals a richly rewarding, often emotionally overwhelming set that emphasises how creative and headstrong Bush remained as a writer, musician and producer at the top of her game”.

Happily, the reviews for Director’s Cut were largely positive. It is different releasing an album where you re-record known songs compared to fresh material. It seemed Kate Bush wanted to set things in order and ‘right some wrongs’ before she ploughed ahead with 50 Words for Snow. As we wonder whether this will be the year we get new music from the legend, cast your mind back to 2011 when you discovered that Director’s Cut was coming out. Such an exciting time! This is what The Guardian wrote in their review of Bush’s ninth studio album:

“In the solitary phone interview she gave to promote her first album in six years, Kate Bush offered these TV appearances to explain why she was only giving a solitary phone interview to promote her first album in six years. Under the circumstances, she suggested, wouldn't you push off to the land of do-as-you-please as soon as possible? Nothing, it seems, inspires inscrutable behaviour quite like the bloke off That's Life! quizzing you about your pimples.

In 2011, with the whole nonpareil musical genius/dippy woman who says "wow" issue firmly sorted out in most people's minds, her behaviour seems to grow more inscrutable still. Her new album, which admittedly took only half as long to make as its predecessor, isn't actually a new album, despite Bush's insistence to the contrary: it consists entirely of new versions of songs from 1989's The Sensual World and 1993's The Red Shoes. In fairness, you can see why she's chosen to point them up. They tend to be overlooked in her oeuvre, more because they separate her twin masterpieces Hounds of Love and Aerial than because of their content, although The Red Shoes is perhaps more muddled than you might expect, given her legendary perfectionism. Nevertheless, the decision seems to have bamboozled even her diehard fans, whose trepidation was not much mollified by the single Deeper Understanding. Again, you can see why she wants to point it up: its lyric about abandoning social interaction in order to hunch over a computer seems very prescient in the age of Facebook and Twitter. But the new version's decision to overwhelm the haunting vocals of Trio Bulgarka with Kate Bush doing one of her patented Funny Voices through an Auto-Tune unit seems questionable at best.

In fact, it's the only moment when you can honestly say the rerecording pales next to the original. At worst, they sound as good as their predecessors, which leaves you wondering what the point is, even as you succumb to their manifold charms. It was obviously a bind that the Joyce estate refused permission to use Molly Bloom's concluding soliloquy from Ulysses as the lyrics to The Sensual World, but whether it's a vastly better song for finally having them in place of Bush's facsimile is rather a moot point. Song of Solomon, on which Bush finally abandoned her apparently bottomless store of metaphors for female sexuality in favour of a direct demand for a shag – "Don't want your bullshit," she cries, "I'll come in a hurricane for you" – is a fantastic song whether the rhythm track features pattering tom-toms or a lightly brushed snare. Occasionally, the changes genuinely add something, usually by taking things away. The force of The Red Shoes' depiction of Bush's troubled relationship with the creative impulse was always a little blunted by its presentation as a kind of perky Irish jig: with the Celtic pipes shifted to the background, it sounds sinister and more urgent. Moments of Pleasure's rumination on death is more introverted and affecting stripped of its dramatic orchestration, while This Woman's Work – the rerecording of which caused the most unease among fans – is amazing: emptier, darker and quieter than before, it's even more heart-rending. Given that the original was heart-rending enough to soundtrack a charity campaign against child abuse, that's no mean feat.

Is it worth spending six years making an emotionally wrenching song slightly more emotionally wrenching? Hmm. If Director's Cut really was a new album, if you were hearing these songs for the first time, then it probably would be considered among Kate Bush's masterpieces: certainly, the sheer quality of the songwriting makes every recent female artist who has been compared to her look pretty wan by comparison. But you're not, which means the Director's Cut ultimately amounts to faffing about, albeit faffing about of the most exquisite kind. Still, as anyone who's watched her putting up with Richard Stilgoe will tell you, Kate Bush has earned the right to do whatever she wants”.

Bush said that the songs on Director’s Cut have a new layer woven into them. I am fascinated by artists reapproaching their songs. Not one for looking back, it clearly meant a lot to her that these songs were given new light and treatment. Even if many critics and fans place Director’s Cut low in the rankings of the best Kate Bush albums, there is something unique and special about it. Ahead of its twelfth anniversary on 16th May, I wanted to spend a bit of time with Director’s Cut. Very fan will have their favourite from the album. I like Flower of the Mountain (the title track from The Sensual World was renamed by Bush when she finally got the right to use James Joyce’s Molly Bloom soliloquy from Ulysses in the song) and what she did with Top of the City. Bringing once-forgotten songs to life and adding something new to old classics, it is an album that everyone needs to hear! I have asked this before, but I wonder whether Bush would ever be tempted to revisit any other songs from her past. I guess she was maybe a bit unhappy with the originals that are transformed on Director’s Cut, but it would be fascinating to hear her tackle Running Up That Hill (A Deal with God) – from 1985’s Hounds of Love – with a lower vocal today. Whatever comes next, there will be a lot of fascination and interest. As with every studio album before then, Director’s Cut was a top ten success. It goes to show that there has always been so much love out there…

FOR the music icon.

FEATURE: Spotlight: Victoria Canal

FEATURE:

 

Spotlight

PHOTO CREDIT: Caity Krone

Victoria Canal

_________

I have a lot of information…

I want to get out, as Victoria Canal is an artist that everyone should know about. I will come to her 2022 E.P., Elegy, soon. Even though she has been recording and releasing music for a while now, the fantastic E.P. has brought her to the attention of a wider audience. I want to drop in some interviews with Canal. First, Red Light Management provide some biography for this tremendous artist:

“When Victoria Canal returned to her family home in Amsterdam for the pandemic, the 24–year–old singer, songwriter, producer and activist had just finished a tour after a period of busy music–making in the studio – something she’s been doing since she was a teenager. Born in Munich to Spanish and American parents, Victoria lived a nomadic existence, traveling across the world with her parents and siblings, living everywhere from Shanghai, Tokyo and Amsterdam to Dubai and Atlanta. In between the traveling, she studied music in Barcelona and New York – including a stint under legendary voice coach Jan Smith, who’d worked with the likes of Drake and Usher.

Lockdown was the first time Victoria had spent an extended time in one place and she retreated to the basement, setting up a make-shift studio to record. “It was a very stripped-back set up,” Victoria recalls from her home in London, where she now lives. “I ended up writing all these songs and singing quite quietly into my mic, not wanting the rest of my family to hear,” she smiles, saying things got a little crowded: as well as her parents, her two siblings also returned home when the world shut down. “My voice actually changed over the course of the year through this,” she laughs. “I used to sing really loud but over lockdown, I became more hushed. I changed the way I approached recording music.”

There was another reason Victoria’s powerful voice was more muted too. When she entered the basement to write the songs that now make up her upcoming EP, Elegy, she was certain these deeply personal and emotive tracks would never be heard by anyone at all. With news that a close relative was sick with incurable cancer, Victoria wrote the songs as a means to explore her own feelings of sorrow, helplessness and the anticipatory grief that comes with knowing a loved one won’t recover from a terminal illness.

“It was a very inward process and nobody else was involved in the writing,” Victoria says, “I was so weighed down by the insane weight of uncertainty and grief, not to mention the sadness at what they were going through, the suffering, the pain. Initially when I wrote the songs, they were so raw, honest and so painfully real, I was just certain I wouldn’t show them to anyone at all.”

When she finished writing the songs, Victoria says she realised she had a complete “body of work”, but still wasn’t sure about sharing them at a time when she was still processing the news. In lockdown, she’d started an online series called ‘Mellow Tunes’ – songs composed in just five minutes – both as a means to keep creating at a time when live music was at a standstill, and as a way to cope with what was happening to her relative. One of the clips found its way to Coldplay’s Chris Martin. A year later when lockdown lifted, he invited Victoria to a Coldplay recording retreat where she was encouraged to work on her own material. Chris also introduced Victoria to Parlophone and soon after, she signed a deal with the renowned label.

“I was like Chris Martin’s biggest fan way before this,” Victoria laughs. “I’ve grown up with Coldplay and every time I’ve sat down at my piano over the last ten years, I’ve always asked myself: ‘What would Chris Martin do?!’” Martin became Victoria’s mentor and encouraged her to be more open and honest in her songwriting or “encouraging me to be me,” as she puts it. Another mentor came in the shape of Jon Hopkins, who Canal befriended in an attempt to surround herself with creatively like minded artists and mentors. “Even though our styles are completely different, he also encouraged me to be authentic, to be myself and that’s what I’ve tried to do with this EP.”

After thinking about how to give more of herself over into her music, Victoria decided to share the personal songs she’d written in her basement. “Over lockdown I’d read books by people like Elena Ferrante and Isabelle Allende, both of whom had written a lot of literature about family, loss and what happens when people pass away. Those books helped me to get through that difficult period and I started to understand more about how art can help a person struggling with grief.” Victoria decided to share her songs in the hope they might speak to people who were going through similar situations.

Listed in order, the songs on Elegy tells the fictitious story following a good man finding out he is dying, inspired by the events from her own life. The first song, ‘own me’, is a vulnerable piano–driven track that explores feelings of anger when someone we love is being taken away for no apparent reason. “The principle of this song is a reckoning of sorts,” Victoria explains. “Someone’s been an amazing person their whole life and then for no logical reason whatsoever, their life is taken away. It’s about bad things happening to good people and the song also asks the question: how much are we really in control, verses how much we really are pawns? There’s some quiet anger here,” she says, which is perhaps most apparent at the song’s soaring string–driven crescendo.

The EP’s second track, the stripped–back acoustic–guitar led ‘pity season’ takes the listener inside a conversation between a sick person and their son over dinner, where he breaks the news about his illness to the family. Part of the song also sees the son exploring how he measures up next to his father. “It’s that fear of a loss of identity when the son wonders ‘How can I be like you, measure up to you, if you’re not around for me to observe and follow your lead?’”

When not making music, Victoria is a passionate activist for the disabled (Victoria was born with one arm) as well as women and the LGBTQ+ communities as a queer musician. Now, she’s finding a way to include this side of her life with her art too. “The last two music videos I made, the child actor playing me has a little arm like me and I’m hoping to be able to include people with limb differences like mine, as well as others with disabilities too, so we keep increasing the presence of those with disabilities in society.”

Victoria says growing up without seeing such visibility was tough. “There was nobody who looked like me on screen. It was the same not just with that but with women, and queer women too. In my latest video, I have women, trans and non–binary actors in the parts as well as more people of colour. I didn’t see anyone like me in the public eye as a teenager, and I think being that person for someone else might be really cool. In terms of my queerness, it’s all just about being open about who I am, throwing away any labels that might be restrictive in the hope that might empower or inspire others to do the same”.

Last year, Why Now spoke with the wonderful Victoria Canal. I would advise anyone who has not heard her music to follow her on social media and bond with this awesome talent. Elegy is an E.P. that everyone needs to hear. Also, look back at her catalogue and explore her entire cannon. This is someone who I am predicting a very long and bright future for. I am excited to see what comes next. I was interesting, when sourcing this interview, to discover how things started for Canal:

“Victoria, where did your musical journey begin? And what was your earliest memory of getting into it?

So my mum’s from the States and my dad’s from Spain, so I grew up moving around a lot. My grandma on my mum’s side was a piano teacher and choir director, so I would go to church with her and sit in on the choir. So some of my first memories singing are being the lead vocalist or soloist in this old folk choir when I was like six, and they were in their 80s. Also, my Cuban grandma loved singing and dancing and traditional Cuban songs. So it was really my grandma’s that showed me music.

What sort of influence do you think living in lots of different parts of the world has had on your sound and tastes?

I think it’s had more of an effect on me as a person than my music, per se. I think my music has stayed pretty true to whatever I was listening to at the time, which was whatever my older brother was listening to: Radiohead, Rufus Wainwright, Muse, U2, Aerosmith.

But what moving around a lot made me was a diehard extrovert. I love people of all kinds, from all backgrounds. I’m so drawn to people-watching and different cultures and languages. And I like being immersed in circles of people that aren’t like me. I think, as someone who grew up with a physical difference, I was always the odd one out in some way. But then, in a way, there were lots of kids that were odd ones out because I went to really international schools. I think, probably the most harmful environment to be in, without even knowing it, is a homogenous environment of all people who look and think exactly like you.

PHOTO CREDIT: Karina Barberis

What did it feel like being in the studio before you had your capability to produce?

I felt so small. It happens a lot to young artists. Technically, that’s a producer’s role, so the artist isn’t taking on that responsibility. However, one of my main learning points from being in that space and recording projects is that each time I’m getting closer to my voice. Elegy is the first time I’ve done the majority of the recording work, and all of the writing.

But I think – and this is common with women artists – they just defer to the dude in the room who’s the engineer or the producer, without really realising they can do it themselves. I think a lot of women, and a lot of young artists in general, found the empowerment in COVID to take it on themselves. And I was one of those.

Now, when I’m in the room, I’ve made it more known from the get-go that I’m a producer as well. And so we can trade-off more, or there’s not this instant assumption I’m gonna sit on the couch, in the back, on my phone, and the dude’s going to be at the console doing the recording. I’m very much at the desk, adding the stuff, playing on everything. I’m much more involved. And that feels so much more conducive to getting the sound that I want.

PHOTO CREDIT: Karina Barberis

As you mentioned, he brought up the discussion of your arm in a sensitive way. Could you just say a bit more about how you feel people perceive the relation between your music and your disability?

Yeah, I’m not ashamed by any means. However, I have no say in how much it overpowers the music, in what people want to talk about. When I listen to other artist’s interviews, they’re asking about the recording process and the songwriting. And, for me, it’s always like, ‘What’s it like being a disabled person?’ It’s always centred around that. It’s interesting to have people decide what you are, rather than having a say.

I don’t closely identify with my disability, it’s a part of my body, but what does that have to do with my music? It’s almost like a mindfuck. It’s like being gay and being an artist. What matters other than maybe the pronouns you use in a song towards someone? What does your sexual orientation have to do with your artistic craft? It might influence it in some way but what’s important is the artistry.

And I just feel like it’s random to connect the two things; to connect the fact that I have one hand with the fact that I make music. But I also think about the fact that when artists break through to the general public, they’re always defined by one thing by the press. Whether it’s getting criticised for being gay; or Lizzo for being a proud, body positive woman; Harry Styles for dressing more androgynous.

And then eventually people get used to that and the artist can just be the artist and people will think what they think. All I can really do is just continue doing what I’m doing, which is making music, and whatever the headlines are, I’m not gonna sit around and mope about it. I’ve talked to TikTok stars who are frustrated that every time they’re interviewed, it reads, ‘TikTok Star…’ I think it happens to everybody, so I’m not gonna pity myself because I don’t think I’m the only one”.

Before wrapping things up, there is one more interview I want to highlight. When the Horn Blows spoke with Victoria Canal in promotion of Elegy. I wonder whether she has an album planned for this year, as there is a lot of love and momentum behind her. Someone that everybody should have in their sights. It is interesting discovering how Elegy was recorded and what inspired it in terms of themes and subject matter:

“Hey there Victoria- how are you? So your EP is out now - how does it feel to have it out there in the world?

I feel relieved and patient and nervous and exposed all at once! I never really focus on what’s trendy, so to put out music that really doesn’t follow the code of whatever’s popular right now feels both liberating and nerve racking.

It is called ‘Elegy’ - what is the meaning behind that?

The word “elegy” means a poem of serious reflection for someone who’s passed. All four songs chronologically connect in the process of anticipatory grief - from finding out someone you love is ill, to having to fill their shoes after they’re gone. It’s a deeply personal story that brought me great relief to create while going through this very experience with a close loved ones.

Where was it recorded? Any behind the scenes stories from the creative process you are happy to share with us?

I recorded it in my parents’ basement when I moved home during the pandemic. I was watching way, way too much TV, every single day, I don’t think I’ve ever watched that much TV in my life - namely This Is Us and Parenthood, and they both carried me through the year as I navigated this huge anticipatory loss of someone close to me. It was in between episodes that I would have some huge revelation about how I could put the experience into song.

<

What are the key themes and influences on the EP?

Key themes on Elegy are family, loss, love, and generally the passage of time and what it teaches us about life. Influences include the tv shows mentioned prior as well as authors like Isabel Allende, Elena Ferrante, and Min Jin Lee, all of whom write about family and the passage of time in a historical fiction context.

If the EP could be the soundtrack to any film - which one would it be and why?

I feel like the movie that comes to mind is Soul - I’m obsessed with animated films and feel like that one touches on so many deep topics that I’m so fascinated by and wanted to touch on with Elegy. Faith, purpose, making amends with those we love, appreciating what we have while we have it… it’s a damn deep kids movie! Haha.

Do you have a favorite lyric on the EP - if so, which one and why?

My favorite lyric on Elegy is “If I were you I would visit your mother. If I were you I would ask about her life. Maybe you’ll find that being noticed for so long will make her cry.”

Now the EP is out there - what next?

I’m currently gearing up for my first ever headline tour - so excited. In the meantime I’m just making music every day, we’ll see what project I put together next but I’m seeing it take shape already, and it’s looking pretty good 😊”.

One of these artists that you just need to hear and follow, make sure Victoria Canal is in your life. I am not sure what the rest of the year has planned; but do check out her social media channels and keep an eye on all the happenings and news. If you are new to the brilliance of Victoria Canal, then do ensure that you…

SEEK her out.

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Follow Victoria Canal

 Official:

https://www.victoriacanal.com/

Instagram:

https://www.instagram.com/victoriacanal/

Twitter:

https://twitter.com/victoriacanal

TikTok:

https://www.tiktok.com/@victoriacanal

Spotify:

https://open.spotify.com/artist/2nE9x2JhbyjBVCaSnUGX3G?si=gZLt2IsrTcWzEX3I9clXBQ&nd=1

YouTube:

https://www.youtube.com/channel/UC2a1zJeKXc6cwqFU8xaQ2jQ

Facebook:

https://www.facebook.com/VictoriaCanalMusic/

FEATURE: Spotlight: Mandy, Indiana

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Harry Steel

Mandy, Indiana

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A band…

 PHOTO CREDIT: Harry Steel

that are definitely on the rise and catching a lot of love from the press, Mandy, Indiana should be on your radar. They have undergone a name and line-up change, so I am going to include only one interview where the then-trio were just coming through. Formerly known as Gary, Indiana, they wisely changed their name! A lot of bands do acquire new members, and that is the case with the Manchester group. The trio originally consisted of Valentine Caulfield, Scott Fair and Liam Stewart. I am going to stick with the here and now. Before coming to a recent NME interview, here is some information and biography and background to an incredible band that are going to festival mainstays pretty soon:

“Mandy, Indiana “excel at making an impression” (FADER). Today, the Manchester-bred quartet announce their debut album, i’ve seen a way, out May 19th on Fire Talk Records. Recorded in caves, crypts and shopping malls, i’ve seen a way is everything at once: an exquisitely rendered debut, expertly twisting genre to channel the chaos of everyday life. Mandy, Indiana draw on a broad sonic palette of experimental noise and industrial electronics, with frontwoman Valentine Caulfield’s lyrics of fury and fairytales completing the band’s soundworld.

Lead single “Pinking Shears” is all rude swagger and rhythms that strut on metal legs, with Caulfield expressing (in her native French) frustration at the state of the world. She runs through the myriad of  inequalities, everyday aggressions, and grievances that plague our existence in late stage capitalism.

Mandy, Indiana thrive in the unexpected, and their live sets have become a vehicle to explore the boundaries of tension and release. The accompanying “Pinking Shears” video, recorded in Manchester, captures their thrilling live performance. The band will make their long-awaited US live debut at SXSW.

Mandy, Indiana’s music is made from their place within the world, having formed out of the fertile Manchester scene and arriving fully-realized. The group initially came to fruition after Caulfield and guitarist/producer Scott Fair met sharing a bill with their former projects. Joined by Simon Catling (synth) and Alex Macdougall (drums), Mandy, Indiana have generated a sound that is once chaotic and precisely tuned. The “Berghain-ready” (them) early single “Injury Detail” was released to a wealth of critical praise from the likes of FADER (deeming the track a “Song You Need”), Stereogum (previously naming Mandy one of 2021’s “Best New Bands”) and Pitchfork, who hailed: “Mandy, Indiana have mastered the sound of mechanized violence.”

Their first recordings emerged around 2019, with a smattering of early singles released not long after, culminating in 2021’s acclaimed “…” EP, released via Fire Talk, which saw the band draw early cosigns including a Daniel Avery remix and support slots from Squid and Gilla Band. The latter’s Daniel Fox mixed several of the tracks on i’ve seen a way, alongside Robin Stewart of Giant Swan. Produced by the band’s own Fair, the album was mastered by indie stalwart Heba Kadry.

Unlikely off-site recording locations with novel acoustics were crucial to achieving i’ve seen a way’s unique sound, from recording screaming vocals in a Bristol mall to live drums in a West Country cave — the latter’s session cut short by literal spelunkers. Other sessions happened in Gothic crypts, where Mandy, Indiana’s physical bass frequencies and experiments with volume competed with underground roadworks in upsetting a yoga class above. i’ve seen a way is a manifesto for these moments of openness and disruption.

i’ve seen a way manipulates chance recording operations into percussive geometries, one where gnarled guitars sit in thickets of distortion and vocals spin knots of lyrical repetitions. Fair explains, “We wanted to alter textures, create clashes, and craft those moments when what you’re expecting to happen never comes”.

 PHOTO CREDIT: Holly Whitaker

In Valentine Caulfield, Mandy, Indiana have an incredible and unforgettable lead. I cannot wait for i’ve seen a way. The fact that it was recorded in caves and shopping malls. It gives this sort of natural, unusual, and everyday sound. The band are definitely primed for big things. I am quite new to them, but I do feel like they are going to rank alongside our very best soon enough. Go and pre-order their album. With their new name and solid line-up, Mandy, Indiana are poised for world domination. They already have a footing and fanbase in the U.S. I can see them traveling all around the world and headlining festivals. I will finish up with the NME interview and take portions from it. There are archive interviews with the band but, sometimes referred to as ‘Gary, Indiana’ and listed as a trio, I am sure that they would prefer the Mandy, Indiana quartet to be what we know them as. NME showed them a lot of love and support:

“As students, they each got a taste for eardrum-blowing noise in Withington and Fallowfield basements, and started to play in bands around the city; Fair was interested in combining experimental chaos with visceral, dark vocals in Caulfield’s native French. The band soon signed to New York label Fire Talk [PACKS, Dehd] and were playing big shows and festivals all over the UK, including opening slots for IDLES, Gilla Band and Squid – and a recent slot at Austin’s SXSW. They don’t feel particularly tied to their hometown; Caulfield, who’s originally from Paris, recently moved to Berlin, citing Manchester’s rising costs and disappearing identity.

While recording ‘I’ve Seen A Way’, the band took that idea to a logical if surprising endpoint, by leaving the studio and recording parts of the album in different, bizarre locales — a shopping centre, a “Gothic crypt,” and most challenging, a West Country cave. The band had to haul as much gear as they could carry from the van to the cave’s mouth, then return for another load of it; they had to navigate past cheese-ageing rooms that smelt “like death” and through pools of water. In an eight hour day, they only managed to spend two hours actually recording.

 “We couldn’t monitor anything, because the reflections were so loud, even with headphones on and your hands over it with the volume turned up you couldn’t hear,” recalls Fair. “So it was only the day after we got out of the caves that we could actually listen back to what we’d tracked. And luckily it sounded amazing. That basically would have fucked the album if it hadn’t worked, because we spent a big chunk of the budget on that.”

The approach resulted in a roughly-hewn sonic patchwork affect — chaotic, intense and proudly ugly. Each element of the album is geared towards a sort of disorientation. “I embrace chaos, and I think sometimes the vocals and the music butt heads with each other,” says Fair. “Certainly in a live setting, people are like can you turn your amps down ‘cause we can’t hear the vocals loud enough? It’s like, no. It’s supposed to be that battle between those elements. It’s supposed to be about that immediacy, and chance as well sometimes — taking it back to raw, elemental feelings.”

That urgency is crucial to the themes in Caulfield’s lyrics, as well. The tracks on this album, delivered in French, look at political exhaustion and rage, resistance to fascism, and revolution. “I no longer want to wake up when we let humans die in the Mediterranean sea,” Caulfield sings (translated to English) on ‘Pinking Shears’; “Always remember that we are more numerous than them,” she repeats on ‘2 Stripe’.

“We’ve had such a massive drop towards fascism here, but also in France where I’m from,” she says. “We’re destroying the planet at a speed that I think is just unbelievable. It’s hard for me at this point to not be in the state of mind where I’m like, ‘What the fuck is going on here? How are we letting this happen?’ But then again, if you know me as a person, that’s kind of the only thing I talk about”.

If you are new to Mandy, Indiana, then do make sure that you add them to your playlist. With their debut album out next month, there is a lot of excitement around the group. They have this wonderful lead, and a chemistry within the band that is sensational! If there is a level of pessimism in the music of Mandy, Indiana, then fear not. Even though they do document a level of grim reality that is hard to shake off, they provide this music that is nourishing, moving, thought-provoking, rich, and transportive. Inside their incredible songs, you can find…

PLENTY of hope.

____________

Follow Mandy, Indiana

PHOTO CREDIT: Cal Moores

Instagram:

https://www.instagram.com/mandyindiana/

Spotify:

https://open.spotify.com/artist/2nDJxXJ7PtW7eLpFXcGH3u?si=jaHhkyRjR2Wow7FJpXeMSA

Twitter:

https://twitter.com/MandyIndiana

YouTube:

https://www.youtube.com/channel/UC0apCPxEftv6tq7sX4vkWyg

Facebook:

https://www.facebook.com/Mandyindianaband/

Bandcamp:

https://mandyindiana.bandcamp.com/

FEATURE: Do They Still Do the Secret Handshake? Kate Bush’s Induction into the Rock & Roll Hall of Fame

FEATURE:

 

 

Do They Still Do the Secret Handshake?

Kate Bush’s Induction into the Rock & Roll Hall of Fame

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IT was fourth time lucky…

 IN THIS PHOTO: Kate Bush in a promotional photo for her 1979 BBC Christmas special/PHOTO CREDIT: TV Times via Getty Images

for Kate Bush, as she was finally inducted into the Rock & Roll Hall of Fame yesterday! The 38th Annual Rock & Roll Hall of Fame Induction Ceremony will take place on Friday, 3rd November, 2023 at Barclays Center in Brooklyn, New York. Bush was previously nominated for induction in 2018, 2021, and 2022. This year she has finally made it in! I will come to why she was excluded/overlooked previously, in addition to what this means going forward. Here is news of who else will be joining Kate Bush in the Rock & Roll Hall of Fame this year:

“Kate Bush, Missy Elliott, Sheryl Crow, and Rage Against the Machine are all getting inducted into the Rock & Roll Hall of Fame as part of the class of 2023. The other performer inductees are Willie Nelson, George Michael, and the Spinners.

Hip-hop legend DJ Kool Herc and guitarist Link Wray will receive the Musical Influence Award, and Chaka Khan, Al Kooper, and Elton John’s songwriter Bernie Taupin are receiving the Musical Excellence Award. In addition, Don Cornelius, the late creator of Soul Train, will get the Ahmet Ertegun Award. The 2023 Rock & Roll Hall of Fame induction ceremony happens on Friday, November 3, at the Barclays Center in Brooklyn.

“This year’s incredible group of inductees reflects the diverse artists and sounds that define rock’n’roll,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a press statement. “We are honored that this November’s induction ceremony in New York will coincide with two milestones in music culture; the 90th birthday of Willie Nelson and the 50th Anniversary of the birth of hip-hop.”

Sheryl Crow, George Michael, Missy Elliott, and Willie Nelson are making the Rock Hall after their first nominations. Kate Bush is being inducted on her fourth nomination, Rage Against the Machine get the nod on their fifth try, and the Spinners were also inducted after four nominations.

DJ Kool Herc, who co-hosted the 1973 party identified as the place of hip-hop’s public liftoff, is recognized as the genre celebrates its 50th anniversary. The North Carolina–born guitarist Link Wray, whose Indigenous upbringing influenced his material, is recognized as an early architect of edgy, exploratory rock music”.

I have dropped in the latest episode from The Kate Bush Fan Podcast. Kate Bush guru/oracle Seán Twomey discusses her induction, in addition to a few other things that have happened recently - including the Fish People rebrand and the partnership with The state51 Conspiracy, plus the new paperback edition of How to Be Invisible, and Bush’s recent award nominations. I said last year (through various features) how Bush’s 2022 cannot be beaten in terms of its busyness and acclaim. Running Up That Hill (A Deal with God) went to number one here and many countries after it featured in Netflix’s Stranger Things. Bush oversaw the placement of the song and was very keen to make sure that it was being used effectively. In a scene featuring one of the main characters, Max, it was a powerful moment that touched a lot of people. She gave her first audio interview since 2016. That year she spoke with BBC Radio 6 Music’s Matt Everitt about the live album for Before the Dawn (her 2014 residency in Hammersmith). I know she said a few words following the death of her friend Lindsay Kemp. He died in 2018. Speaking with Emma Barnett for Woman’s Hour last year was something nobody was expecting! Although Bush kept us busy with updates of thanks via her official website – you couldn’t shut her up last year! -, she wanted to come on the show and give her thanks to fans. It was a great choice in terms of the programme. Going out on BBC Radio 4, this was indeed a coup!

2023 has almost surpassed last year in terms of its importance and grandness regarding all things Kate Bush! She did reissue the How to Be Invisible book with a new foreword and cover. I know the audiobook for Graeme Thomson’s biography, Under the Ivy: The Life & Music of Kate Bush, is coming along soon. That incredible Stranger Things scene has been BAFTA-nominated, but it is up against Paddington and The Queen, so Bush might miss out! The Platinum Jubilee: Party at the Palace scene where Paddington meets The Queen will be hot favourite, though you can never rule against Bush sneaking it. Stranger Things is a U.S. show, so they may go with something more homegrown – and, as The Queen died last year, sentimentality and a certain bias might affect the vote! Also, Bush is nominated for an Ivor Novella award, for Most Performed Song. Bush is no stranger to the Ivors. Having won one in 1979 (Best Lyric for The Man with the Child In His Eyes); she won for Best Song in 1987 for Don’t Give Up  (a duet with Peter Gabriel); in 2002, Bush won an Ivor for Outstanding Contribution to British Music; In September 2020, she became a Fellow of the Ivors Academy. We are only in May, so who knows what else might come along! Of course, there will be new magazine spreads and features following all of this good news. I know that Leah Kardos is writing a book on Hounds of Love for the 33 1/3 series. I interviewed her about it recently. I get a feeling we may see another Kate Bush book. I am also sure that there will be an attempt to launch a new documentary about her, whether that is for T.V. or radio. There have not really been that many detailed and thorough documentaries about her work for a long while. The BBC produced a documentary in 2014 but, at an hour long, it barely scratched the surface!

I think the fact that Kate Bush is in the Rock & Roll Hall of Fame at the fourth time of asking is a big deal! The institute has been criticised for its lack of inclusion regarding female artists. Missy Elliot is the first female rapper to be inducted. A trailblazer and inspirational artist that broke through in a male-dominated genre, it is an honour she is in – though it does raise questions as to whether the Rock & Roll Hall of Fame needs to look at its record regarding ignoring women. Courtney Love Cobain wrote about this very thing for The Guardian. This was backed up and augmented by author and writer Jessica Hooper. The statics are pretty bleak! Regardless, I feel that the fact Bush is inducted is not only because of the awareness that has been raised regarding inequality, but her new popularity and endless relevance. That is the thing about this news. People ask whether Kate Bush is relevant, because she has not released an album since 2011 (50 Words for Snow). Many say her peak was in 1985, but one can look at the past couple of years and say that this is her peak and most successful period. The gender debate is for another day, but let’s hope that progress is made and legends like Kate Bush, Sheryl Crow, and Missy Elliott act as examples. Their phenomenal music and careers should highlight so many other women who are worthy of induction into the Rock & Roll Hall of Fame. Bush posted her reaction to the induction news:

“I have to admit I'm completely shocked at the news of being inducted into the Hall of Fame!  It's something I just never thought would happen.

Thank you so much to everyone who voted for me. It means a great deal that you would think of me. It’s such a huge honour.

Now as part of the initiation ceremony I get to find out about the secret handshake... there is one, right?

Kate”.

Bush has been to America before. She was there promoting Hounds of Love in 1985. There were a couple of awkward interviews that suggested the interviewers were not really aware of her! Perhaps a little ignorant or ill-prepared, you can see why she didn’t promote there much! Even if she has said that breaking America was never a goal or that important to her, you also have to ask why it took the country so long to ‘get’ her. Over thirty-five years since Hounds of Love came out, and Kate Bush can truly say that she has seduced and conquered America! I love the idea that Bush asked if there is a secret handshake. Sort of invoking images of Monty Python, there is always something so charming and English. Bush said how she never expected it. When she has been nominated and lost out three times, you sort of get resigned to your lot. Maybe the extra success of Running Up That Hill (A Deal with God) has made the difference. It would be a shame to thing that without that song and T.V. show that she might not have even been considered! Regardless of scandalous omission in the past, this is very positive news! Any honour that comes her way is a great thing. I think this year is going to be another jammed and crazy one for all things Kate Bush. That post from Kate Bush sort of suggests that, against all odds, maybe she will attend. She has not appeared in ‘public’ – at a media event or anything music-related – since 2014, where she was presented with an award by the Evening Standard for her Before the Dawn live shows. Bush is someone who will turn up. It would be great that she’d come out for the Ivors and BAFTAs. It would be the first time many have seen her in the flesh for many years. Those are all based in the U.K. Would Kate Bush go to New York to perform or speak for the Rock & Roll Hall of Fame in November?

 IN THIS PHOTO: Kate Bush during 1979’s The Tour of Life/PHOTO CREDIT: Peter Still (via NME)

Although it does seem unlikely, you can never rule it out! She has a fear of flying. That was a big reason why she never did another tour after 1979’s The Tour of Life. The draining and scary experience is not one she repeated a whole deal. I am not sure how many foreign holidays she took. I think she visited Barbados after The Dreaming (1982) but hated it because it was a little too quiet – I may have got the location wrong, but away from busy cities and the noise and chaos of making an album, a relaxing and tranquil setting was slightly freaky and unnerving. Maybe she has been on foreign holidays through the years but, aside from some U.S. promotion in the mid-'80s, you figure she has not flown much. It would be a one-off, but would she commit to a trip to Brooklyn? It does seem very unlikely but, as you can never predict anything when it comes to Kate Bush, she may surprise us all! Not only does her induction cause huge relief that she will not have to be nominated a fifth time; we also add another huge honour to her growing list. This past couple of years has been a renaissance. Bush is finally firmly back in the public spotlight! It has shown that her music is still so important, original and relevant. Running Up That Hill (A Deal with God) might have led the charge, but it is Bush’s enormous legacy and brilliance that keeps her firmly in focus. What comes next? That fascinating possibility of an album must grow ever hotter. Knowing that American audiences are now firmly invested in her music, couple with growing vinyl sales and a gigantic desire from fans, you feel that must compel her to get into the studio and release her eleventh album. Her albums normally come out between September and November (bar The Kick Inside, and Director’s Cut) so, in terms of announcements, maybe something will come in June or July at the latest? We can but dream! It is amazing that the Rock & Roll Hall of Fame have inducted Kate Bush, and it means the juggernaut keeps going strong! In a year that has bestowed honours and applause on Kate Bush, we were all delighted that another big accolade was given to…

OUR queen.

FEATURE: The Bigger Picture: Artists Established and New That Are Born for Cinematic Roles

FEATURE:

 

 

The Bigger Picture

PHOTO CREDIT: Pavel Danilyuk/Pexels

Artists Established and New That Are Born for Cinematic Roles

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ONE of my favourite wonderings…

 IN THIS PHOTO: Taylor Swift/PHOTO CREDIT: Beth Garrabrant

is which artists who have been in the industry for years and decades would be perfect for the big screen. There are those like Madonna, Dolly Parton, and Tom Waits who have been in a fair few flicks between them. I always wonder what would have been if Kate Bush stepped into film. Maybe one of those great what-ifs, it is not about idle curiosity. There is such a strong link between film and music. Most artists appear in music videos, and the live performances they put on have similar disciplines and elements to film. It is surprising that the likes of Harry Styles and Rihanna have appeared in several films. I think the greatest modern artist who is also an incredible actor is Lady Gaga. Wonderfully credited as Lady Gaga rather than her real name of Stefani Joanne Angelina Germanotta, a.k.a. Ally Maine, she has delivered some wonderful film performances. She is appearing in the forthcoming Joker: Folie à Deux. Everyone from Björk to Taylor Swift has appeared in films. The latter is actually someone who I can see emulating Lady Gaga and appearing in a lot more films. Someone who is also keen to direct, this major musician has already featured in Amsterdam, and other films. She naturally transitioned between the two disciplines, and I feel like Swift will take on a number of different roles across multiple genres. She is one of several artists who I feel should have a much wider filmography. Someone you really want to see in more films. The same goes for Beyoncé. She has appeared in several films, but there are so many roles and worlds that you can imagine her in. It is almost a bit too much to reel off the possibilities for Beyoncé!

There are other artists that have either appeared in the odd film and should be on the big screen more, or those who have never been in a film (in a big role) at all. I feel Kendrick Lamar is someone who would come to cinema and captivate. Looking online, and I cannot see any films where he has played a prominent role. He would bring such panache, power and potency to the screen! Halsey has appeared in a couple of films – and she has more roles coming up -, but she is someone else that I can see having a long and gilded film career. In fact, the first image of Halsey in the third instalment of the A24 Mia Goth-led X franchise, MaXXXine has been shared. I have mentioned American artists so far, but there are British acts that you can see taking to the big screen. Dua Lipa features briefly in the upcoming Barbie film, but she and Charli XCX – as two of our biggest Pop artists – would make such incredible actors. Same goes for the incredible Sam Smith. I think that Loyle Carner would also be an excellent actor. This is all guessing and speculating, but you can imagine all of those artists stepping into cinematic roles. Rather than it being something curious, I feel that artists who do act in films bring something to their music. Maybe the gravity of the roles or the disciplines learned translates into new musical horizons and layers. Also, the reverse is true. Whether they are a major artist or not, they can channel many of the emotions and skills they bring to songs and the stage into film roles.

 IN THIS PHOTO: Kendrick Lamar

Will Smith and Jennifer Lopez are huge artists who are almost as synonymous for their film roles as they are with their music. Lopez’s role in Hustlers is one of the finest of the past five years. Smith is an accomplished actor who has rightly been nominated for awards. It can be daunting for artists to go into to film, but you get some real naturals who prove that music is really close knit to music. The reverse is sometimes the case when you get actors becoming artists. I know Florence Pugh released her debut album later this year. Maybe the awesome Phoebe Bridgers will appear in a string of films. She strikes me as someone who would dominate and own so many great roles. Other artists who have either never appeared in films or only one or two include Billie Eilish, Lizzo, Little Simz, and Lana Del Rey. In the same way as people often talk about Lady Gaga’s finest film work as being as brilliant as any performances out there, you wonder if there are other opportunities for a star to be born. A rising or established artist who has shown glimmers of promise on the big screen and deserves more roles – or those who have never been invited at all. We all have that fantasy list of artists we’d love to see in film roles. Either playing straight roles or portraying another artist – I often envisage Taylor Swift playing Stevie Nicks -, it is incredible and exciting to imagine. Sitting back, letting the mind wander, and imagining…

WHAT could be.

FEATURE: During The Tour of Life… Kate Bush in Amsterdam

FEATURE:

 

 

During The Tour of Life…

IN THIS PHOTO: Kate Bush in Amsterdam in 1979 during The Tour of Life/PHOTO CREDIT: Barry Shultz

Kate Bush in Amsterdam

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I have often written about…

 PHOTO CREDIT: Barry Shultz

various aspects of Kate Bush’s career when it comes to travel and certain nations. I have written about her time in Japan in 1978. There was also the time she promoted Hounds of Love in the U.S. in 1985. Even if Bush did not travel for promotion a whole deal after 1979, that particular year was quite a busy and itinerant one for Bush. One of the most interesting stops on The Tour of Life was when she was in Amsterdam. On 29th April, 1979, Bush played Carré Theatre. The previous night, she was performing at the Congress Center Hamburg in the then-West Germany. The Tour of Life started on 2nd April, 1979 with a warm-up gig in Poole. Until that 29th April date, Bush and her crew had barely had a break. On 13th April, she played Edinburgh, before travelling to London to play on 16th. That was her first break. Another one occurred after 29th April. It would not be until 2nd May when she was back in West Germany. I often wonder about the schedule and planning, as Bush nipped back to West Germany after performing there. I wonder whether a string of dates could have been planned to avoid the back and forth, but I guess that is the way touring planning and logistics go! The Tour of Life ended on 14th May. That was preceded with a pretty relentless string of gigs – including her playing Frankfurt on 10th May, before her date in London on 12th May.

 PHOTO CREDIT: Barry Shultz

I think that her time in Amsterdam was very interesting. I think that a slight rest after the Amsterdam gig on 29th April, 1979 was a good idea. On 24th, 26th, 28th and 29th April, In the Warm Room, Kite, Oh England My Lionheart, and Wuthering Heights were dropped from the set because Bush was suffering from a throat infection. After such intense performances and travel, she couldn’t have got much rest. Together with interviews and these huge performances, I wanted to focus on Amsterdam. Even though she was tired and her voice was suffering a bit, there are these incredible photos of her that caught my eye. Barry Schultz is someone who snapped Bush when she was in Amsterdam in 1979. As you can see from his portfolio, he did photo Bush when she visited Amsterdam in 1979. There are great shots of her arriving at the airport in Schiphol. Bush looks relaxed and irresistibly cool in these airport shots! In other snaps, she is pictured walking around Amsterdam. One of the greatest items in the Bush wardrobe for my money, she wear a colourful cardigan, knee-length red boots and jeans. There are other promotional images of her in Amsterdam. I especially love the live shots that Schultz captured when Bush played her only gig in the Netherlands. Despite some vocal soreness and undoubted tiredness, she looks as captivated, committed, and professional as ever. I do wonder whether we will ever see more photos or a book from The Tour of Life. Bush’s outfits alone are worth of more investigation and spotlighting!

 PHOTO CREDIT: Barry Shultz

I wanted to return to The Tour of Life one more time for a couple of reasons. I was eager to highlight her time in Amsterdam and the fact that she looked so cool, chic, yet grounded and herself. The final date of 14th May, 1979 must have been both a relief and sad. Before a home audience in London, it was the finale of a triumphant live spectacle – the likes of which the music world has never witnessed! Barry Schultz helped to document Bush’s time in Amsterdam, but there are other photos which I wanted to get to the bottom of. Whereas some sources say they were taken in 1978 – as I understand Bush might have visited Amsterdam that year after the release of Wuthering Heights -, there are others that say it is 1979. Is this the same time as she was performing at Carré on 29th April? The reason I bring up the name Claude Vanheye is because of how different the shots were compared to that Schultz took. A series of photos of Kate Bush wearing Fong Leng outfits are iconic. I think Bush had become more savvy and selective when it came to photo sessions and who she worked with. An infamous 'bondage' photo first appeared in Record Mirror in April 1978. As written in Fred & Judy Vermorel's Kate Bush biography, Princess of Surburbia, Bush’s first manager Peter Lyster Todd tried to get the photo removed before publication. He offered £2000 to Record Mirror (declined) not to show a bondage-style picture ‘a smart Dutch photographer’ had ‘tricked’ her into posing for. Doing some digging, and it seems like that shot was actually taken by Vanheye during the same sessions. Wearing the same top as she did when shot riding a prop/fake dolphin (Bush dreamt of swimming with dolphins, so I think that she suggested the idea), maybe that is a 1978 session.

 PHOTO CREDIT: Claude Vanheye

During the same session of the ‘bondage’ shot, the dolphins snaps and her wearing Fong Leng, there was another photo that grabs the eye. In spite of a slightly risqué shot making the press, I do think that was a bit of a wake-up when it came to who she worked with. Even though the photo in question is pretty innocuous and harmless, the press did jump on it. Working with photographers who sexualised her less, I am still intrigued by her work in Amsterdam and the images from that time. In an old feature, I highlighted a shot of Bush walking in a parking garage with a prop crocodile. Some called out the shot because they feel it is animal cruelty but, obviously, they did not get a crocodile from a local zoo, but a lead on it, and risk Bush being mauled or killed shooting in a parking garage whilst she was dressed in a Fong Leng dress! Like the dolphin, it must have been acquired from a prop store or shop. It does show her sense of humour and a juxtaposition. There is that elegance and class together with something snappier, cooler and a bit dangerous. Maybe keen to show a different side to her, it is a pity that a harmless enough shot of her overshadowed those sessions. I have dated those photos to 1979, but it may have been the case it was 1978. It would be good if someone could clarify that!

 PHOTO CREDIT: Claude Vanheye

There are reputable sites that say 1979. It is a bit of a tough one. Whilst the ‘bondage’ image does seem to have surfaced in 1978, you think that the Vanheye shots would have been taken when she was touring in Amsterdam. Some clarification would be nice. The photo session was scheduled for thirty minutes, but Bush sent away her entourage and stayed for six hours. Vanheye’s photographs of Bush were used on the Japanese 7" single for Symphony in Blue, and in the unofficial boxset, Never Forever. I will wrap it up. Many do not know that Bush was in Amsterdam and there are quite a few photographs of her there. It renews my calls for some sort of book or exhibition where we can see shots of her from The Tour of Life and the images taken on and off stage. It was a fascinating time. On 29th April, 1979, Kate Bush played in Amsterdam. I love the shots Barry Schultz took, as we get to see her at the airport and coming to the country. We also see her on the streets and blending in. There is also those stage shots of her in her element and in a very different setting. Seeing those different sides to Kate Bush is fascinating. She looks so comfortable and cool in his presence. Only twenty when the shots were taken, this was as young woman who had two studio albums under her belt and was on the road on her first (and only) tour. It must have been quite an intense and scary time, but there was also a lot of fun and chances to see different parts of the world. I can imagine Bush bonding with Amsterdam and feeling relaxed. I imagine that she…

 PHOTO CREDIT: Barry Shultz

LOVED the vibe there.

FEATURE: Women Up: Why Is There Not a Fifty-Fifty Gender Split Across All Radio Stations' Playlists?

FEATURE:

 

 

Women Up

 PHOTO CREDIT: cottonbro studio/Pexels

Why Is There Not a Fifty-Fifty Gender Split Across All Radio Stations’ Playlists?

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IT is a big question…

 PHOTO CREDIT: Anthony : )/Pexels

and I know that some radio stations do commit to a gender-equal playlist. When it comes to women and non-binary artists across most U.K. radio stations, the numbers are not equal. I have covered this before but, as that was a while ago, I was hoping things would have vastly improved. Although the figures are not quite as severe as they were a few years ago, there is still this massive problem. I look down playlists and schedules and wonder why so many songs are by male/male-led acts. If festivals hide behind excuses when it comes to a lack of female headline acts, maybe we need to look to radio and ask if they are doing enough. Historically, there are more than enough female artists you can play. Whether you are a smaller station or a BBC station, you are pretty much spoiled for choice. The same goes for new artists and finding terrific women to highlight. I know various stations have their own demographic (age-wise) and they curate a particular sound. Even so, they have more than enough options when it comes to female artists and female-led bands/acts! This includes non-binary artists. But when you look at the number of women who appear on radio playlist compared to men, you wonder why it is not an eve split at the very least. Music for the past few years has been heavily dominated by women – and you can go back a few years more when it comes to amazing rising acts and brilliant albums!

 PHOTO CREDIT: Aline Viana Prado/Unsplash

Before moving on, this article collected findings from a 2022 U.K. gender/racial disparity data report on U.K. radio. Although there are one or two stations that are close when it comes to equality across the playlists, most weer still struggling. If things have gotten slightly better since the report was published, things are far from improved and equal:

“How have BBC, Bauer and Global changed in the last 12 months across Radio? White Male artists still dominate on-air across the Top 20 Airplay Charts. BBC6 lead the charge in Equality on the airwaves.

+ In the Top 50 UK songs of 2022 across Uk radio:

• 94% of songs featured in the Top 50 were by Artists/Bands signed to a MAJOR LABEL.

• 2% of songs featured in the Top 50 were by Artists/Bands signed to AN INDEPENDENT LABEL.

• 4% of songs featured in the Top 50 were by Artists/Bands signed to AN INDEPENDENT LABEL WITH MAJOR LABEL DISTRIBUTION.

• 8% of songs featured in the Top 50 were by POC Solo Artists/Bands.

• 8% of songs featured in the Top 50 were by ETHNICITY COLLAB Artists/Bands.

• 10% of songs featured in the Top 50 were by ED SHEERAN (WITH 5 SONGS OF ED'S FEATURING)

• A 1985 song 'Running Up That Hill' by British artist Kate Bush featured in the Netflix show 'Stranger Things', which lead to her song becoming a surprise hit this year. It also landed Kate in the Top 50 most played tracks on British radio so far this year (at #40) .

• Harry Styles is the Number 1 artist on UK radio so far in 2022. (of both UK & International artists in the Top 100 he is #1 with his hit song 'as it was')

PHOTO CREDIT: senivpetro via Freepik

In the Top 100 UK + International songs of 2022 across UK radio:

• 50% of songs in the Top 100 are from domestic UK artists/bands. Therefore British radio supports 50% of domestic artists in its Top 100 songs so far in 2022. In comparison to Irish radio which was only 18% Irish artists.

• 34% of songs in the Top 100 are from international bands from Europe, AU and USA  among others.

• 16% of songs in the Top 100 are from domestic UK/International collaborations between the artists.

• International music artists are equally present in the Top 100 singles, regardless of gender.

• UK solo male music artists are present in the Top 100 x3 more than solo female music artists.

• Including solo and gender collaborations - UK male music artists are present in 80% of all top 100 singles, female music artists are present in 60% of all top 100 singles.

• When UK artists collaborate with International artists in the Top 100, male music artists are present 94% of the time, and female music artists are present 56% of the time.

• UK, white-only music artists/groups are represented x10 more than POC-only artists/groups

• Overall, among UK & International entries, solo male artists present twice as much as solo female artists in the Top 100.

WWW.WHYNOTHER.EU
#WhyNotHer

IN THIS PHOTO: Winnie Ama

"It's a real shame that there's a muted desire to genuinely create change and represent a balanced view of music and essentially the storytelling and culture of our people by our musical creatives. Before these gender disparity radio reports, we never would have imagined that radio would proactively amplify, promote and essentially employ one section of society to the detriment of another. It is our hope that these data reports can continue to set the precedent for a lot of change to come. Change can happen at a quick rate when an unconscious bias is stripped back. We hope this report helps to make structural change". - Linda Coogan Byrne, Lead Data Analyst / Activist  & Founder at Why Not Her? 

"It's Groundhog Day for the music industry, or certainly for UK radio. Whilst there are a few stations out there doing the right thing for gender equality (hullo Radio 6, Classic FM) most are definitely not and some have gotten significantly worse over the past year (Radio 1's figures are just grim) so it's clear that it's a deliberate policy to exclude women from the airwaves. Quite frankly, I'm pretty exasperated about it." - Vick Bain, The F-List / DEI Speaker at Why Not Her?

"As a curator, it's one thing to fall into an unconscious habit. However, once you're aware of it and yet you continue as you have done, I think it means that you either don't care about the impact that your role has in shaping national culture or you think that white men should be the authors of British culture with only space for footnotes by women, POC or the LGBTQIA community. It feels very 20th century and we're in the 21st." - Winnie Ama, Data Analyst  & Activist Why Not Her?”.

 PHOTO CREDIT: master130546k via Freepik

Not to question the report, but how often is BBC Radio 6 Music ensuring that the proportion of male and female artists is equal across their playlists? Looking at a random day, and you can see that the morning shows definitely do not have a fifty-fifty gender split. There may be broadcasters on the station where there is equality, but it is definitely not the case even BBC Radio 6 Music ensures most of the programmes have that fifty-fifty balance. If they are closest when it comes to gender equality across their playlists, there are shows and days when there are many more male artists played. People could say that this is the way it has always been and that the stations are playing the most popular and commercial artists. In terms of quality and appeal, there is nothing excluding female artists. Big stations do not have tight remits and rules regarding who they play. It does seem strange that most stations across the U.K. struggle to balance the playlists. Gender inequality is present through radio and live music. Think about this article from Glamour that spoke to leading female D.J.s who are striving for parity. They opened the article but writing this: “According to research done by DJaneMag only 7% of female DJs were in the line-ups of 20 top festivals worldwide in 2018. This is a general trend that is not dependent on country or music style, and the data for 2019 was almost identical. As for clubs, the percentage for female DJs follows a similar pattern, with 11%, where the top superclubs are hosted by an average of 6% female DJs. However, there is no statistics to show that women are less talented or capable of doing the job, so what is going wrong?”.

IN THIS PHOTO: Tiffany Calver/PHOTO CREDIT: Rosaline Shahnavaz

In 2020, Music Week detailed a report that found there was huge disparity across radio playlists. Again, whilst BBC Radio 6 Music were close to a fifty-fifty split – and they at least made strides and commitments –, then that desire to change and react was not shared by a lot of stations. It made for gloomy and angering reading:

“A new report by Ctrl Management founder Nadia Khan has found that women are vastly underrepresented in UK radio, with 81% of songs in the Top 100 airplay chart for the last year featuring men.

Khan worked on the Gender Disparity Data Report alongside music industry consultant and publicist Linda Coogan Byrne, with the pair analysing data from 31 UK radio stations and the Top 20 most played songs between June 2019-June 2020.

Their figures show that female songwriters comprise 18% of the Top 100 airplay chart, while female producers make up 3%. The report is based on British artists those whose songs are registered on Radiomonitor.

Khan published the Seat At The Table report last month and is leading the charge for equal representation in the music industry. Speaking to Music Week for our recent Indie Takeover issue, Khan called for diversity across the business.

IMAGE CREDIT: BBC

“As highlighted in the Women in CTRL report the disparity still runs high for women and especially black women,” she said. “To work towards a truly diverse and inclusive music industry change needs to happen within the organisations and Women in CTRL will be conducting a follow up report in 2021 to track progress.”

Figures for the most played songs on BBC Radio 1 for the period defined by the Gender Disparity Data Report showed 85% were by male artists, with 10% femaled and 5% collaborations. At 1Xtra, males accounted for 76.2%, females 14.3% and collaborations 10%. Radio 2 had 40% collaborations, 55% men and 5% women. At 6 Music, 60% of the most played songs were by male artists, 10% by female acts and 30% collabroations.

BBC Radio 6 Music has reiterated its commitment to gender equality in the wake of the report.

“6 Music remains committed to shining a light on female artists,” a statement said. “The current 6 Music playlist has 14 out of 33 songs featuring female performers. From the May 27, 2019 to the May 31, 2020, the average percentage of female artists on the 6 Music playlist was 44.3%. There have been a number of weeks in 2020 in which 55% of music on the playlist has been by female artists. The 6 Music Festival in March 2020 also featured 45% female performers and 16% male/female bands”.

PHOTO CREDIT: fabrikasimf via Freepik

In September 2022, Mixmag also laid out the startling facts regarding gender inequality across major stations. I think there have been small steps and pledged for 2023, but the situation is far from one where we can say things are better. As I said, even if a great and conscientious station like BBC Radio 6 Music commits to gender equality, it is not a day-to-day consistency. You can still look at a run of programmes and there can be as much as a 2-1 dominance of male artists:

“A new report from inclusion campaigners Why Not Her? has found a huge disparity in racial and gender balances across the 26 top British radio stations.

The study, which looks at the way in which equality is spread amongst radio plays over time, found that top stations including BBC Radio 1, Bauer, and Global, are all dominated by white male artists.

Over the course of the past 12 months, Why Not Her? reported that just 8% of songs featured in the Top 50 were by POC artists. In the Top 100, white artists are represented 10 times more POC artists.

Elsewhere, the study found that UK-based male solo artists are present in the Top 100 three times more than female solo artists in the UK & international charts.

“It's a real shame that there's a muted desire to genuinely create change and represent a balanced view of music and essentially the storytelling and culture of our people by our musical creatives,” says lead data analyst and founder of Why Not Her?, Linda Coogan Byrne”.

I know there are steps being taken and some improvements – even if I have singled out BBC Radio 6 Music, they do seem to be closest to creating and maintaining a gender-balanced playlist that also recognises different cultures, races, and sexuality -, but yearly reports still make it clear that there is a way to go. I do not understand why there is such stubbornness! Stations are not committed to only playing major label artists with a certain amount of stream and high chart positions. Take a proper look at all the incredible music coming through in all genres, and you will find a huge amount is made by women. Let’s hope that radio stations across the U.K…

REACT to the imbalance we see year in year out.

FEATURE: Turn It Up: Blur’s Brilliant Modern Life Is Rubbish at Thirty

FEATURE:

 

 

Turn It Up

Blur’s Brilliant Modern Life Is Rubbish at Thirty

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IT is shocking to think…

 IN THIS PHOTO: Blur in 1993

we could mark a Blur album that is thirty years old. It makes me realise that these legends have been on the scene for a very long time. In terms of quantum leaps for bands, the '90s saw a few from the debut to sophomore albums. Consider Nirvana’s Nevermind (1991) follow 1989’s Bleach. There was Radiohead’s massive improvement on 1995’s The Bends – which followed 1993’s Pablo Honey. If 1991’s Leisure did offer us There’s No Other Way and She’s So High, many critics felt that nothing else of much worth came from it. I think it is an underrated album, but the band really stepped things up on 1993’s Modern Life Is Rubbish. The album turns thirty on 10th May (a day after I turn forty), so I wanted to look ahead to an important anniversary. Many associate Blur running in tandem with Oasis, but the truth is this started before and have lasted longer. Blur released two albums before Oasis gave us their 1994 debut, Definitely Maybe. An early Britpop album, Modern Life Is Rubbish was a massive step up in confidence, vision, and quality for the legendary band. There was an overhaul for their second album. Blur could have been one of these bands that faded after their debut. There was a danger that they might have been overlooked and not had a second album taken seriously had their continued down the same creative path.

Leisure did okay, but Blur soon fell out of favour. They had a nightmare tour of the U.S., and bands like Suede were emerging and creating much richer and striking work. Suede’s eponymous debut was released in 1993, a monthly or so before Blur’s Modern Life Is Rubbish. Their label, Food Records, feared that their new signing was a flop. About to drop them, there was this proactive shift and reinvention. Led by Damon Albarn, influences changed. If their debut was more Baggy and inspired by bands from the Madchester scene, Blur looked back to groups like The Kinks and Small Faces for Modern Life Is Rubbish. With witty, slice of life, observational and original lyrics and a sound palette that was broader and somehow cooler and more cutting that the slightly samey and out of fashion tones on Leisure, the gamble paid off. Albarn’s lyrics rooted themselves in suburban England. Huis observations and lines are among the defining factors on Blur’s second album. There is more confidence and ambition from the entire group (Alex James, Graham Coxon and Dave Rowntree). If Modern Life Is Rubbish gained positive reviews and a few mixed ones back in 1993, its legacy and influence since then has made critics reappraisal and see it in an even more positive light.

If Blur fully hit their stride on the next album, 1994’s Parklife, there are glimmers of genius through Modern Life Is Rubbish. Chemical World and For Tomorrow are sublime and brilliant singles. Deeper cuts such as Blue Jeans and Oily Water perfectly sit alongside the better-known numbers. This was an album that showed people could not write off Blur. They started with a little bit of a stutter and, if some still feel Modern Life Is Rubbish is a little too indebted to The Kinks and lacks identity, there is no denying the fact it is one of the defining albums of the Britpop age, and it no doubt inspired bands coming through such as Supergrass. Modern Life Is Rubbish was a moderate chart success in the U.K., where it only peaked at fifteen. I wonder whether there is going to be any anniversary release or celebration ahead of its thirtieth on 10th May. I am not sure how Damon Albarn feels about the album, as he has been dismissive in the past. I will finish with a couple of reviews. In 2018, for the album’s twenty-fifth anniversary, The Student Playlist looked back at a cult album from a band who were definitely in the ascendancy:

“SUBSTANCE

As ever, true genius wins out in the end, and Modern Life Is Rubbish became a slow-burning success. The end result was melodic and lavishly produced, featuring brass, woodwind elements and backing vocalists, and a much more diverse collection of songs. Thematically, Albarn investigated the dreams, traditions and prejudices of the English working and middle classes in the immediate aftermath of Thatcher’s government – a mile away from the nihilism and self-obsessed ennui of post-Nirvana grunge. The American art-rock leanings of guitarist Graham Coxon, always Blur’s secret weapon, slotted in surprisingly well alongside the English aesthetic, and ensured that his ability to provide sonic context for Albarn’s words wasn’t underused (as it was by the time of the mockney-isms of The Great Escape just less than three years later).

The jaw-droppingly beautiful opening track ‘For Tomorrow’, is the most obvious expression of the new approach, where ‘retro’ could be applied to point the way to the future. Having recorded the bulk of the album by the end of 1992, Albarn had been told by Food label head David Balfe that it lacked a single, and was told to go back to the drawing board and write a hit. ‘For Tomorrow’ came to him in a flash of inspiration as he sat in front of the piano at his parents’ house early on Christmas Day morning, as he nursed a hangover.

Brazenly lifting from T.Rex with its opening line (“he’s a twentieth century boy”) and utilising London landmarks for its psychic space (“But we’re lost on the Westway / So we hold each other tightly / And we can wait until tomorrow”), it was an obvious choice for a first single, and represented the point at which the tide slowly started to turn for Blur. ‘For Tomorrow’ was an absolutely perfect distillation of the band’s intentions for their album, a coherent, smart rebuttal to the predominance of post-Nirvana complaint-rock in the British music scene in 1992, and one which explicitly referenced and celebrated the country’s musical legacy. You can hear echoes of ‘Waterloo Sunset’ as Albarn’s lyrics conjure up images of the unsettling tranquillity of suburbia, right down to the “la-la-la-la-la” chorus.

This moment of classic English indie greatness paves the way for a diverse bonanza through Modern Life Is Rubbish, ranging from mod-punk stompers to lushly orchestrated rock balladry. ‘Advert’ zeroes in on the encroaching culture of mindless consumerism that was being imported from America. The career-obsessed character at the centre of ‘Colin Zeal’ makes for a Weller-esque punk-pop stompers in the vein of The Jam’s sneering ‘Mr. Clean’, while ‘Pressure On Julian’ has the same topic but sets it to something more expansive. While they go down easy without leaving much of an impression, the breezy back-to-back pop gems of ‘Coping’ and ‘Turn It Up’ do much to lighten the mood near the end of the album.

Albarn’s now-infamous ‘character songs’ make their first appearance on Modern Life Is Rubbish, but there’s an ambiguity that lies at their heart that allows observations of mundane and pettifogging routine – about washing “with new soap behind the collar”, about Colin Zeal keeping “his eye on the news” etc. etc. – to avoid being both celebratory at one end or derisory and spiteful at the other. They’re infinitely more complex than the irritating ‘Charmless Man’ from 1995, let’s put it that way.

Much more so than Leisure, which was largely monotonous in its pacing, Blur showed a much wider range of dynamism on Modern Life Is Rubbish. The pace slows on the oboe-aided ‘Star Shaped’, an ode to the power of positive thinking and a masterstroke of English exotica. Neo-psychedelic highlight ‘Oily Water’ gives only the faintest indications of Blur’s erstwhile fondness for shoegaze”.

I will finish off with a review from AllMusic. Modern Life Is Rubbish turns thirty on 10th May, and I think it deserves highlighting. Even if many fans and critics would place Parklife, The Great Escape (1995) and Blur (1997) as superior albums, I think the importance of Modern Life Is Rubbish marks it as an underrated classic. Highly regarded by critics, it is a shame Blur did not feature the excellent Popscene on the U.K. release of Modern Life Is Rubbish. The single did not fare so well, so they did not include it – though it did appear on the U.S. release. Blur would eventually be embraced in the U.S., but Modern Life Is Rubbish did not have a big impact when it was released. Retrospective reviews have been largely positive. This is what AllMusic had to say:

“As a response to the dominance of grunge in the U.K. and their own decreasing profile in their homeland -- and also as a response to Suede's sudden popularity -- Blur reinvented themselves with their second album, Modern Life Is Rubbish, abandoning the shoegazing and baggy influences that dominated Leisure for traditional pop. On the surface, Modern Life may appear to be an homage to the Kinks, David Bowie, the Beatles, and Syd Barrett, yet it isn't a restatement, it's a revitalization. Blur use British guitar pop from the Beatles to My Bloody Valentine as a foundation, spinning off tales of contemporary despair.

If Damon Albarn weren't such a clever songwriter, both lyrically and melodically, Modern Life could have sunk under its own pretensions, and the latter half does drag slightly. However, the record teems with life, since Blur refuse to treat their classicist songs as museum pieces. Graham Coxon's guitar tears each song open, either with unpredictable melodic lines or layers of translucent, hypnotic effects, and his work creates great tension with Alex James' kinetic bass. And that provides Albarn a vibrant background for his social satires and cutting commentary. But the reason Modern Life Is Rubbish is such a dynamic record and ushered in a new era of British pop is that nearly every song is carefully constructed and boasts a killer melody, from the stately "For Tomorrow" and the punky "Advert" to the vaudeville stomp of "Sunday Sunday" and the neo-psychedelic "Chemical World." Even with its flaws, it's a record of considerable vision and excitement. [Most American versions of Modern Life Is Rubbish substitute the demo version of "Chemical World" for the studio version on the British edition. They also add the superb single "Pop Scene" before the final song, "Resigned."]”.

I am going to wrap up. On 10th May, we will look back on thirty years of Modern Life Is Rubbish. In a year that saw incredible albums from Suede, Björk, and Nirvana, Blur released an incredibly important and impactful work. In years since it came into the world, you can feel and tell how many artists have been inspired by it. If some were not impressed by Modern Life Is Rubbish back in 1993, there are so many now who think that Blur’s second studio album is…

FAR from Rubbish.

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?

_________

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.