FEATURE: The Working-Class in Music: Are Their Voices Being Heard?

FEATURE:

 

The Working-Class in Music:

 Are Their Voices Being Heard?

________

I promise my final piece(s) of the day will be more positive…

as I am aware I am a bit ‘preachy’ and serious this weekend. I have just got through looking at politics in music: whether we need artists to activate their political outrage and direct their musical talents in the direction of the world’s leaders. Now; I am looking around the music industry and wondering whether those who, traditionally, have been at the forefront of revolutions and change: the working-class. One can argue socialists or Marxists have been more effective – and would not, necessarily, deem themselves as ‘working-class’ – but I am concerned, journalists like me, might struggle to get into the industry. I will bring in a few articles to support my arguments (as I often do) but am scanning Google and typing in the words ‘working class’ and one gets some troubling results.

Working-class students at Oxford University – as few as there are! – are being assigned ‘buddies’ because there are so few social peers. It is a sad indictment of the educational system – and the elite institutions – that they have to treat the working class as remedial students. It is encouraging getting more working class students into the top universities – they are still the vast minority and something needs to change. Looking around music media and it seems there are fewer working-class journalists in prominent positions. Caitlin Moran, a Times columnist, is one of the few working-class journalists who work for an ‘up-market’ newspaper. Maybe there are working-class in your tabloids but I fear, even they, are recruiting a majority of the middle-class. An article by the Huffington Post looks back a few years - and some concerning statistics:

“In 2012, a report undertaken by the NCTJ discovered that only 3% of new journalists derived from a background of parents who worked within “unskilled” jobs. In stark contrast to this, the report also found that 65% of the industry’s new intake came from a background of parents working within “professional, managerial or director positions”.

PHOTO CREDIT: Unsplash

James Cropper, writing two years ago, laid out his personal concerns:

“For student journalists like myself, the prospect of an unpaid internship is worrying as my financial situation will more than likely prevent me from gaining crucial work experience, which could postpone the chances of obtaining a permanent position.

These worries are only emphasised by more recent Sutton Trust analysis that discovered young individuals who undertake a six month unpaid internship in London are forced to cough up a minimum of £6081 without support. For journalists wishing to take a six month unpaid internship outside London, a slightly less but still hefty sum of £5087 is required.

PHOTO CREDIT: Unsplash

This automatically prevents certain individuals, even in areas known for their large working class populations, from gaining crucial experience whereas young people of higher socio-economic backgrounds would be more likely to cope with costs.

The fact that aspiring working class journalists are forced to relinquish potentially career changing internships while others don’t due to the pretence of their socio-economic background is fundamentally wrong. In simple, this is class inequality within an industry that strives to highlight injustices”.

That, right there, seems to distil the problem inherent in journalism. It seems most of the newspapers and online sites have their basis in London. If one wants to live/commute in London; that takes a lot of money. The working-classes, due to their comparative lack of ‘necessary’ education and opportunities have to take internship-level places – these are unpaid and, therefore, not viable options for people of a certain age. I am thirty-four and cannot even contemplate the possibility of doing an internship! Even if I lived in the centre of London (which I don’t) I’d have to sell my body to make rent – I fear I would be giving refunds at a rapid rate! It is worrying seeing how elitist journalism is becoming. Maybe that is always the way but I am noticing, as more sites and channels emerge; fewer chances for the working-classes are available.

IN THIS PHOTO: Caitlin Moran

Caitlin Moran, one of the few working-class success stories, used to write for Melody Maker and grew from there. She was discovered very young and worked her way where she is by sheer talent and determination – writing about her near-impoverished roots and being raised on benefits (read her work in The Sunday Times). We need more working-class people coming into music journalism. If anything; they provide a unique perspective on the musical landscape and how skewed and defined it – I shall come more to that later. It is a simple step-system that means, at no part of the chain, are there any easy answers. I studied History at university and was not sure, at that age, what I would do with my life. Many people at my university were in the same predicament: we all wanted to experience time away from home and being around like-minded people. I got into music journalism six years ago, and by that stage, I was working in regular jobs and out of the educational loop. As good as my work is; I fear it takes actual qualifications and academia to get my foot in the door of a London newspaper/website.

If I were to do that, even with a grant, it would cost thousands to study a course – the debt would mean I’d be spending most of my wages repaying the government. It is a sad state of affairs when we need to learn music journalism through such a structured and defined basis. I have been writing since 2011 and find I am far ahead of many professionals. I would not stand a chance, were I to apply to NME, Mojo or The Guardian for a music job. They would run internships but, as I say, that is not a viable option. Even with the portfolio I have at the moment: that would not be as profitable and relevant as a journalism degree. The middle-class journalist that festoon and dominate the industry have been to great universities - and got qualifications that led to their jobs.

Maybe they had their heads screwed on and knew what they wanted sooner than me – if I had studied journalism at university then I would be working for a great paper. It is not that easy and, when I started university in 2001, there were not a lot of journalism courses and opportunities to follow your passion. My school was not promoting this line of education and there was that poverty of expectation – the alumni were not going to be in the arts; more your blue-collar workers and low-earning type. Even if I had wanted to be a journalist back then; I would have had to wait years to study a degree and, even if I survived the mountain of debt, it would have taken years more to get into a prominent position. It seems ludicrous most of the working-class journalists are reserved to blogs and online sites. Look at your big papers – The Times, The Guardian; The Independent and The Daily Telegraph – and, searching their music reviewers/journalists, and the majority of them are middle-class.

That is the case with Time Out, NME and Mojo. Yes, there are working-class journalists in their ranks but they are the minority. I feel the majority of business leaders should be working-class; politicians and leaders the same class – this is certainly the case with music. That is not my way of making the world more rational, for-the-people and accessible – there are industries and areas of life where a more educated and privileged sort is the best option. My experience and complaints are not unique. Consider a piece in the Metro by Erica Crompton. She penned an article about her experiences in journalism – and how much of a struggle it has been:

“You see, LinkedIn tells me today that I’ve been writing for Fleet Street newspapers for 14 years, with spells in and out of full-time employment and a spell of unemployment that lasted the entire length of a two-year relationship.

You may think being open about my schizophrenia, or simply having such a diagnosis, is what stops me from reaching higher.

But I believe it’s because of my working class background.

I started out well – having gotten a job as an assistant at an esteemed broadsheet, I was young and full of hope for my future.

I look back now and my heart sinks.

PHOTO CREDIT: Bigstock 

I’ve watched other assistants at the same publication go on to become world famous columnists and heads of large departments, but I’ve never really pushed on from £10 an hour.

I feel my background has held me back considerably.

My story is just one example of the class pay gap and a wider lack of social mobility in Britain today.

This isn’t a problem confined to one industry – it happens across the board.

This year, research for the Social Mobility Commission revealed that, on average, people from working class backgrounds are paid £6,800 a year less than those from middle class backgrounds.

Even if they’re doing exactly the same job and have the same experience as their colleagues, those from working class backgrounds receive nearly £2,250 a year less.

LSE research fellow Dr Lisa McKenzie, a Class Wars activist, recently said that Oxbridge-educated commentators should stand aside and let working class journalists like her do the talking about working class issues.

PHOTO CREDIT: ALAMY

Referring to Oxford alumna and Guardian columnist Polly Toynbee, she told the Morning Star:

This is my challenge to Polly Toynbee: Why are you still talking? Your voice is redundant. If you mean what you say, step over and give me your column.

Personally I agree – we need more than Oxbridge graduates as the monopoly masters of the media circus.

In the meantime, I’m actually writing a travel book on Birmingham.

It’s not as bad as you think here in the working class wastelands of the Midlands.

And we know everything there is to know about wellies”.

Journalism is a white, middle-class, Oxbridge institution that wants to retain its middle-class mentality. Working-class journalists receive less money than their middle-class equivalent. Women earn even less: one can see so much discrimination and inequality in the industry. I want to move things onto music – and why we need a working-class injection – but will end by looking at my ‘tribe’ – and how likely it is we will get into a professional position. I’ll bring in some snippets from other journalists, first.

PHOTO CREDIT: Negative Space/Unsplash

A 2016-piece from The Guardian made a good point:

“Another major consideration for aspiring journalists is that getting a work experience placement is essential. Yet the majority are London-based, unpaid, and acquired through contacts. That means those living outside the capital, and without financial resources or well connected parents are immediately at a huge disadvantage.

Everyone in the industry acknowledges these issues in the same resigned how-will-this-ever-change tones. To become a journalist it clearly helps to be well educated, well connected and wealthy, so it’s not difficult to see why the public perceive us much like politicians: all the same and out of touch”.

To support this; another piece by The Guardian showed the discrepancies in terms of class and gender:

“The findings, announced at the Changing Media Summit today, reveal that 65% of journalists who have joined the profession over the last three years are female, but that women remain underpaid and under-promoted, while almost all ethnic groups and religions are significantly under-represented.

Researchers reported that just 0.4% of British journalists are Muslim and only 0.2% are black. Nearly 5% of the UK population is Muslim and 3% is black.

The issue of equality and diversity in journalism came under the spotlight last month when 94 men and 20 women were shortlisted for this week’s British Press Awards.

City’s research indicates that women are paid significantly less than their male counterparts. Nearly 50% of female journalists earn £2,400 or less a month compared with just a third of men.

Female journalists also tend to become stuck in junior management positions, while more men fill senior posts, the research found. Nearly half of women who have worked in the industry for between six and 10 years are still “rank and file journalists”, while 64% of men with equivalent time in the industry had been promoted into junior or senior management positions”.

PHOTO CREDIT: Unsplash

It might seem like I am cobbling together pieces from the Internet to make a vague point. The reality is that is only the tip of the iceberg. Have a search yourself and see how many articles there are fulminating and outraged at the class wars going on in journalism. It says a lot that, when a petition was put onto Change.org – to urge The Guardian to employ more working-class – only eight people signed it. One suspects, if the petition had been successful, nothing would have changed. Trailblazers like Moran are part of a minority whose voice alone cannot out-shout the out-of-touch, elite nature of the press. We need to get more working-class writers in better positions. Get out of this white mentality and employ more journalists from minorities.

PHOTO CREDIT: Unsplash

Hire more women and make the press a more communal, unified and class-less forum. I have shown – I hope – I am able to hold a pen to the best of the middle-class hacks. I can pen a pretty decent piece, and yet, will be held back by virtue of my modest academic achievements. I drive a second-hand car and earn less than £20,000 a year and have fewer A-grades than the majority of people employed at the broadsheets. I can change circumstances and my background: I wonder whether I can change things in any way. The industry is so geared against the middle-classes; many are ignorant and blind to the privation and exclusivity of their business. I will end my scorched earth rantings – that is how many might see it – and apply my class theory to the music industry as a whole.

IN THIS PHOTO: Stuart Maconie

Before I come to my own conclusion; I have been reading a fascinating piece Stuart Maconie wrote for NewStatement in 2013:

“The great cultural tide that surged through Harold Wilson’s 1960s and beyond, the sea change that swept the McCartneys, Finneys, Bakewells, Courtenays, Baileys, Bennetts et al to positions of influence and eminence, if not actual power, has ebbed and turned. The children of the middle and upper classes are beginning to reassert a much older order. In the arts generally – music, theatre, literature for sure – it is clear that cuts to benefits, the disappearance of the art school (where many a luminous layabout found room to bloom) and the harsh cost of further and higher education are pricing the working class out of careers in the arts and making it increasingly a playground for the comfortably off. The grants are gone and the relatively benign benefits system that sustained the pre-fame Jarvis Cocker and Morrissey is being dismantled daily.

IN THIS PHOTO: Morrissey

…to Mumford & Sons you can add the likes of Coldplay, Laura Marling, Eliza Doolitle, Lily Allen, Florence Welch, Pixie Lott, La Roux and Mark Ronson, as well as talent-school academy graduates marshalled by one Simon Cowell, an old boy of the then £3,995-a-term Dover College (now £4,750). Unscientifically, but still persuasively, it is detectable in the names on sleeves. The top indie act the Maccabees include a Hugo, an Orlando, a Felix and a Rupert”.

Maconie, himself, is working-class and currently works for BBC Radio 6 Music. Alongside Mark Radcliffe - another working-class, salt-of-the-earth chap - he has had to work bloody hard to get where he is! Maconie’s piece, even though it is four-years-old, is as relevant to this day – as it was back then. When Maconie was a student/promising journalist, the scene was a little different. You had working-class heroes in music. He would have reviewed and seen the likes of John Lennon as a boy; John Lydon a bit later on – he coined the word ‘Britpop’ when the Gallaghers were taking the piss out of Blur. He has lived through generations where the working-class, in a minority, have produced some of the finest music ever. There are plenty of working-class musicians in the underground: how many are there making waves and impressions in the mainstream?!

IN THIS PHOTO: Jarvis Cocker/PHOTO CREDIT: Herbie Knott/REX/Shutterstock

Returning to Caitlin Moran and, when she was on Desert Island Discs earlier this year, she made an interesting point to Kirsty Young: would we have left the E.U. if working-class musicians were in a position to break to the masses?! Say a ‘new Jarvis Cocker’ wrote music about the heritage and diversity of Britain. Instead of people being brain-washed by the tabloids and their propaganda crap – they would have been better-informed, educated and aware. We would still be in the E.U. and, one could hope, Labour would be in Downing Street. That is not the case and, as a result, we are in a royal-bloody-mess! That is a simplistic distillation but there are links between the class of musicians and how that reflects on society. Not only does a majority of the middle-classes mean messages are less political/social and more personal – the quality, bite and authenticity is lost. Remember back in the 1990s when we experienced the last real wave of working-class bravado?! I was a child when that swept and it enforced and infused my life in such a primal and real way.

IN THIS PHOTO: Blur

Me and my friends would converge to the playground to chat about Pulp owning Top of the Pops; Blur and Oasis going toe-to-toe in the chart battle of 1995 – how Liam Gallagher got himself in trouble for sticking it to the P.M. Those were giddy times and, because of that, by the time Britpop ended (1997-ish) we had a Labour Prime Minister. There is a correlation between the dissipation of working-class activation and the rise of the Conservatives. Britpop ended for a number of reasons but (one of the reasons) was the need for a change and new influence. Britpop had done its work and needed to bow to its successor. Unfortunately, and disturbingly, that was the last time we saw a genuine voice for the working-class in this country. Such is the sterile and vanilla-white nature of the mainstream; we are in desperate need for a class revolution and sense of guidance. Among the posh songwriters and generic Pop artists – where are those genuine characters who write about life and the realities of the street?!

IN THIS PHOTO: Oasis/PHOTO CREDIT: Kevin Cummins (1994)

Stuart Maconie, in his article, stated how Hip-Hop and Rap are built by the working-class and is among the most honest and socially aware music around. Look at genres like Rock and Pop and they have become so impotent and meaningless. It is all meaty riffs, big hooks and aimless choruses. Where are the crafted lyrics and brilliant observations?! Where are the sort of choruses we all got giddy to when Live Forever came out?! Where are Punk bands like Sex Pistols that kicked against the establishment and exhilarated a generation?! Maybe the passing of time means it is impossible to revert to that better state. I feel there is a rigidity and ignorance that could be overturned quickly. It would take small changes but we need to give a bigger platform to working-class musicians. It all starts with journalists: if the working-class musicians feel they have few peers in the press; their music is not going to get the respect and attention it deserves. In order to revitalise and repurpose music; we need to look at the broadsheets and get them to sort their ranks out!

IMAGE CREDIT: Metro

Stop being so snobbish, elitist and stupid. The working-class and those who know what life is really like and have a much more open and loving approach to different races, colours and backgrounds. I am not suggesting the middle-class are oppressive and closed-off – the working-class deserve a voice and a chance to influence music. I fear, if I submitted this piece to a broadsheet, rather than look at the points I make and the articles I source, they would criticise my scansion, grammar and structure. That is one of the issues with the press: they are more about academia, precise English and a certain class of writer – unconcerned with something truthful, honest and real. The more we allow journalism to refuse the working-classes, women and minorities – the more that impacts on music and means the likes of Noel Gallagher and John Lydon will never be seen again.

IN THIS PHOTO: Sex Pistols

There is enough to be pissed-off with in the news. One feels the musicians in the mainstream – largely middle-class – snort with derision and, even if they are angered by what they see, are not incensed enough to write about it – they might offend and shock the labels and people who command the millions they earn. How controlling and damaging are records labels and the type of music they want their artists to play?! Maybe it is hard expressive anything the way Jarvis Cocker did back in the 1990s if (all the) label wants is something commercial and radio-friendly. Class expression and unconventional wisdom is such a shocking commodity for the mainstream. The reason I listen to stations like BBC Radio 6 Music is the fact they extol artists that represent the country more honestly and reliably than the so-called ‘best’ of modern music. Even so; I am hearing few artists speak about things relevant to people like me: the working-class that wondered how my country split and why we are leaving the E.U. Do we need to challenge music journalism to ensure music as a whole embraces more working-class artists?! Is it a more complex and intricate conundrum?! I don’t think so. What I do know is we are so far away from the glorious working-class bands and artists that shook music up and changed it forever. Aside from a few unique and pioneering artists here and there; we are stagnating and falling into a lukewarm tar pit – one we will struggle to extricate ourselves from. One can (and will) wag their index finger at the music media who are shutting doors to promising and willing working-class journalists.

We/they are being told to get ‘relevant’ degrees (not sure any university runs a course in ‘Patronising Arsehole Studies’) and go via the internship route. They are so unaware of the realities of working-class life and how much of a financial struggle it is for regular, hard-working people. I read a lot of articles/reviews from broadsheets and they don’t exactly blow me away. Why does one need a degree in Journalism to write fifty words about the latest LCD Soundsystem album?! It seems education, as useless and irrelevant is in a lot of cases, is holding back progression and equity. The media needs to change their ways because, not only are they corrupting their industry and discriminating against the working-class – they are damaging music and ensuring we are far less likely to see exceptional working-class artists that pushed music forward and made real changes. If the music press/industry continues the way it is; it will put off journalists like me off and, as a result, it will create a system where entry into the press/higher echelons of the industry are…

RESERVED to the middle-classes only.

FEATURE: The Times They Aren’t a-Changin’: A Need for Greater Protest in Music

FEATURE:

 

The Times They Aren’t a-Changin’: 

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

A Need for Greater Protest in Music

________

THE world is not getting any prettier…

That is axiomatic but, seeing the news, it appears the people we put in charge of our world are not protecting it the way they should. Often, when one puts the words ‘politics’ and ‘music’ together; they are met with a scrunched-up face and derision. There have been attempts, by musicians, to articulate a sense of outrage and disgust through their music. I wonder, in the past couple of decades, how successful and influential their efforts have been. I am reminded of classic Folk artists of the 1960s – such as Bob Dylan – who, despite claiming not to write political messages, seemed to represent a fear and trepidation that was percolating in the masses. Back in the 1960s; the world was faced with war and corruption: political scandal and financial burdens were affecting so many people in society. Given the spirit of rebellion and love-based antithesis movement that reached its apex in 1967 – people were fighting against war and poverty through peaceful means.

That is not something possible in today’s world. Musicians back then, like The Beatles and Love, were releasing sensational around this time. Both of these records (Sgt. Pepper’s Lonely Hearts Club Band and Forever Changes) seemed to project a feeling of freedom and togetherness. I am casting my mind to see how many albums around the time specifically dealt a blow to the leaders of the free world. The Velvet Underground released The Velvet Underground & Nico but their themes were more aimed at drug use, sexual liberation and experimentation – little time expended tackling societal issues. It has long been the case few artists have immersed themselves in a political mindset. There is a danger of being judged and seen as sallow. If the messages don’t compel people to take to the streets then what is the point? I do wonder whether Bob Dylan, despite his assertions, was writing deliberately political songs. One cannot listen to an album like The Freewheelin’ Bob Dylan or The Times They Are a-Changin’ (1963 and 1964, respectively) and feel there is not a political edge – the former’s best tracks, Blowin’ in the Wind and A Hard Rain’s a-Gonna Fall feel apocalyptic and prescient in their urgency and wisdom.

IN THIS PHOTO: Bob Dylan, fans looking into limousine in London, England (1966)/PHOTO CREDIT: © Barry Feinstein, 1966

Maybe Dylan did not want to be labelled a protest singer. There are a lot of artists that have written political songs but that number is becoming fewer with every passing year. Is it, in a time where the mainstream is becoming more pronounced and less world-aware, a danger writing a political song? Prophets of Rage unleash their eponymous album later this month. You can bet they aren’t going to be talking about kittens and yarn; getting their heart broken or cleaning the dishes. The U.S. giants will be sticking it to President Trump and turning the volume wwwaayyyyy up! I cannot wait to see how Chuck D, Tom Morello and company are going to represent the feeling of malaise and division in the U.S. I recently saw quotes from Eminem’s stunning sets at Reading and Leeds – he ensured the performances could not be streamed to anyone for free – and the vitriol he aimed at Trump.

IN THIS PHOTO: Eminem/PHOTO CREDIT: Ben Bentley/NME  

He got everyone in attendance to shout “Fu*k Trump” with as much gusto as they could. With this anger and energy running wild: his set was one of the finest of his career. I feel more musicians should be unafraid to speak out against leaders. It is not treasonous or worthy of backlash if you are honest. I did not vote to leave the E.U. nor did I vote-in the Conservatives – I feel justified in having my say about how they’re running the nation. I will come to look at our nation soon but, before then, the U.S. and the way they can weaponise their lyrical talents right at the groin (if there is one) of Trump. Eminem, in my mind, is among a small group of artists unafraid to tell it how it is. Hip-Hop elite like Kendrick Lamar, on albums like To Pimp a Butterfly, talk about racial tensions and gun violence in the country. In fact; a lot of black Americans have vocalised how they are discriminated against – the government lets it happen without batting an eyelid.

IN THIS PHOTO: Kendrick Lamar

Even Hip-Hop is expended little time talking about what is happening in the White House – a building whose name, post-Obama, has become ironic and very literal. The U.S. is, under Trump, becoming a place of opportunity and freedom: if you are white and a Republican. Any sensible resident of the nation is being short-changed and shafted. I do not know whether Trump will be impeached – or die of a very painful rectal disease – but there are many, atheists like me, praying there is a vengeful God in the sky. In any case; there needs to be a more pronounced and visible show of protest. Consider the past few months and the catalogue of atrocities Trump has allowed to happen. We all remember the terrible carnage that took place in Charlottesville a matter of weeks ago.

One woman died and many were injured when the far-right let their (vile) voices ring out. It led to widespread disgust and provoked condemnation across the world. Normal, rational leaders, would have reacted immediately: Obama would have been on the news offering his sympathies with those affected; toil and scorn at those callous enough to create such an environment. He would have been quick and ruthless in his retaliation. The same goes when one processes something as devastating as the flood we have been seeing – Houston especially affected. It has been distressing seeing the images and loss reeked by the terrible floods there. Many are still struggling to piece it together – the damage will endure for an awful long time. It is not good enough to acknowledge it has occurred and say nothing about it. When the rain/storms first struck; the people of the country were more vocal and visible than Trump. It was only a few days after the event he actually did anything at all.

IN THIS PHOTO: U.S. President Donald J. Trump

It is clear President Trump is someone seemingly unconnected with humanity and unaware of the plight of his people. God knows who elected him but many must be regretting their decisions. What does an American do when faced with this kind of separation and destruction? The fact there is a lot of hatred means, if they are going to respond through song, they need to tread carefully. One could easily undercut their good intentions by penning something crass and needlessly offensive. I mention Eminem because he is an artist who, yes, causes offence but is able to sublimely voice what many are feeling. His charged and scintillating U.K. performances show we here are with him and responding to what he putting out there. I hope there is a new Eminem album because it seems like now is a perfect time to react. I know Rage Against the Machine are readying their album. How many other musicians are writing songs that protest against the current political order?!

IN THIS PHOTO: A shot of the floods in Houston, Texas

Either there is a lack of willing or a consensus of fear that is holding back their inner-most anger. I am not suggesting a Band Aid-style single but something from a range of American artists wouldn’t go amiss. It does not need to be an accusatory and vilifying song. A charity song, to raise money for the Houston victims or those caught up in Charlottesville, would be a positive step. It could bring together artists from various genres/time periods that would show a rare unity and togetherness. There are divisions and compartments in music: breaking this down, for a song/album, would be a great concept. I would still like to see great political creativity and fire from U.S. artists. Whether Eminem is releasing a record soon remains to be seen. I look around U.S. music and feel their mainstream – artists like Katy Perry, Taylor Swift and their ilk – are not unqualified to change their voices. Maybe there is a commercial risk inherent if they decide to sing about politics.

PHOTO CREDIT: Unsplash

I know they feel the pain of their people and are eager to ensure as few tragedies occur as possible. Music is a powerful medium and one that should allow its artists to have freedom of speech. There is such a rigid set of rules for mainstream artists. They are tied into contracts and expected to create music of a certain manner. I guess, when you have created an identity over the years, you have more flexibility. I have mentioned Kendrick Lamar but Beyoncé is someone who sings about racial tensions and injustices. She speaks of empowerment and females being heard. I suspect, whether she is off musical maternity leave or not, there are ideas and articulations that need venting. Whether she will return with an album as intense and of-the-moment as Lemonade – or favour a more reflective album that addresses her new twins, I am not sure.

IN THIS PHOTO: Beyoncé

There are fantastic artists in America living in a nation run by a bumbling buffoon. He is a businessman and, as such, has little empathy and responsibility in regards the people and humanity – there are conscientious business leaders but few that we hear about. I am not proposing a revolution but I often feel, the same as has been seen with great uprising and progress, the smallest ripples can lead to huge waves. If some of the biggest artists took the gamble – maybe, getting odd remarks from small-minded fans – and spoke out against what is happening, through the medium of music, then that would create a huge impact. The more people who speak out against corrupt and hopeless leaders – in all industries – that will, in turn, reflect with the American people who will, in turn, apply pressure on Trump. He cannot assume everyone is happy with him and who knows: if music’s finest start a campaign; it could have the potential to bring about real change.

IN THIS PHOTO: P.M. Theresa May/PHOTO CREDIT: EPA

I wanted to end the piece by looking at the situation in Britain. We have had to ensure our fair share of tragedy this year. There have been some muted, half-baked attempts at a political protest from British music – nothing that truly summarises and distils the sense of confusion and betrayal a lot of people feel. We have much to chew over and speak about. There is the ongoing Brexit debacle. We have the (still raw) tragedy at Grenfell Tower. Against that, there has been terrorism and growing radicalisation. With all this in mind, like Trump, one would expect P.M. Theresa May and Foreign Secretary Boris Johnson to take a more proactive and quick-time approach to these concerns. The fact there is a backseat rebellion shaping-up in the Conservative camp suggests there will be upheaval very soon – one can only hope a coup allows Labour to swing in and gain the reins of power. Our government took a distressingly long time to say anything about Grenfell. May did not even get out among the people until after the Queen had. The head of our monarchy was more motivated than our P.M. to see if the people will alright and assess the extent of the damage.

IN THIS PHOTO: Grenfell Tower, following the devastating blaze from earlier this year

Rightfully, there was outcry and derision from all sides of the political spectrum. That sort of pacificity and cold inhumanity has no place in any democratic society. Again; I feel like those who elected the Conservatives into power need to take a hard look at themselves – not quite working out the way they’d hoped, huh?! I am not going to jab and judge those who made bad voting decisions – life will do that, trust me – but wondered why, when we can see such lacking leadership, is it down to the people solely to react?! Musicians should not be fearful of reprisals or any sort of negativity if they decide to pen a political song. There have been charity events set up to raise funds for the Grenfell victims; a charity song was recorded but, most certainly, was not political or angry at all. Aggression is, when properly channelled, a very useful weapon that can bring about actual change.

PHOTO CREDIT: Pixabay

Let me leave this with a look at this year’s best music; a quick glance at the past and whether we have made any strides. I mentioned the 1960s because, to me, that was the last time there was an effective political movement in music. Perhaps I am over-romanticising how things were and whether artists like Bob Dylan were true protest singers. Now, music is more accessible and visible than any other time. There are so many artists out there: it would be good were more to break away from the obvious and commercial and let some fire out of the belly. A protest/political song does not need to be foul-mouthed or aggressive. It can be articulate and calm but still possess the same degree or dissent and outrage. Maybe, as I type, there are those going into the studio to record a great political song.

PHOTO CREDIT: Picjumbo

There are artists capable of writing a credible song: one that is shouted by the masses and that, in turn, makes it more voluminous and noticeable to those in power. I am not suggesting a few well-crafted political songs can make the likes of Trump and May have an epiphany. That would be a stretch but to know the best and brightest musicians are not happy with the way the country is being run – that is a very powerful and potent thing to witness. Newer, underground artists have the potential to reach the surface and make their voices heard. If thousands of people in Leeds – watching Eminem do his thing – are more-than-happy to shout a direct and profane message to Donald Trump; it is clear there is a populist attitude that needs adequate satisfaction. It is down to musicians to take a more active stance and ensure our elected leaders know…

PHOTO CREDIT: Unsplash

ALL is not happy in the democratic world.

FEATURE: Albums to Look Out for This Month

FEATURE:

IN THIS PHOTO: Phoebe Bridgers 

Albums to Look Out for This Month

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THE past few weeks have been pretty awesome…

IN THIS PHOTO: Prophets of Rage

for exceptional new albums. I just missed the wire but, the first day of this month was given a slice of genius with LCD Soundsystem’s American Dream. It is shaping up to be one of the most celebrated and acclaimed albums of the year. That is not to say the remainder of September is a gangrenous wound of crap...far from it, in fact!

Over the coming few weeks; we will see some spanking releases from The National, Tori Amos and Sparks. Throw into the mix some Foo Fighters, Miley Cyrus and Prophets of Rage and it promises to be a pretty impressive!

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The National – Sleep Well Beast

Release Date: 8th September

Label: 4AD

Why You Should Buy It: In a year that has seen Indie stalwarts Grizzly Bear and Arcade Fire stage returns (with mixed results); it is the turn of Ohio’s The National. Initial buzz surrounding the album – their first since 2013’s Trouble Will Find Me – suggests it will be one of the year’s best. Many of the songs document lead singer Matt Berninger’s divorce – the fallout and complexities of it. It is sure to be a staggering, beautiful and troubled work – an album, oddly, 2017 really does need. Expect the traditional blend of sonorous and moody vocals; delicious astute and memorable lyrics – and an album crammed with some of the finest songs you’ll hear all year.

Toris Amos – Native Invader

Release Date: 8th September

Label: Decca

Why You Should Buy It: It’s Tori Amos, dumbass! Okay…I shall expend a bit more consideration. We might see a new album from Björk this year: alongside Tori Amos; one of the most innovative and influential artists in the world. We do know for sure Native Invader is almost here – it is her fifteen studio album. Unrepentant Geraldines was her previous record (released in 2014) and, whether addressing vengeful women or something else – an album that resonated with critics. Like that album; Native Invader was recorded in Cornwall (at Martian Engineering Studios). Unlike her previous release; there is a very different story behind Native Invader – as Amos herself explained: “The songs on Native Invader are being pushed by the Muses to find different ways of facing unforeseen challenges and in some cases dangerous conflicts. The record looks to Nature and how, through resilience, she heals herself. The songs also wrestle with the question: what is our part in the destruction of our land, as well as ourselves, and in our relationships with each other? In life there can be the shock of unexpected fires, floods, earthquakes, or any cataclysmic ravager -- both on the inside and outside of our minds. Sonically and visually, I wanted to look at how Nature creates with her opposing forces, becoming the ultimate regenerator through her cycles of death and re-birth. Time and time again she is able to renew, can we find this renewal for ourselves?”

Sparks – Hippopotamus

Release Date: 8th September

Label: BMG Rights Management

Why You Should Buy It: This is the twenty-fifth album from Ron and Russell Marl. The guys seem to be in peak form as, on Hippopotamus, they look at everything from Shakespeare to camper vans. Sparks are renowned for their innovative and off-kilter songs – work that differs from what is out there by delivering intelligent and imaginative tracks. This collection, from what we have heard so far, shows Sparks have lost none of their, well…you know?!

Gary Numan – Savage (Songs from a Broken World)

Release Date: 15th September

Label: BMG Rights Management (UK) Limited

Why You Should Buy It: There are few artists who have endured like Gary Numan. He remains one of those special and unique talented that, through the decades, is able to adapt and amaze. The new album, Savages (Songs from a Broken World) documents a global warming-like disaster. The songs deal with serious subjects but, as we can hear in new single My Name Is Ruin, there is plenty of energy, Rock demand and huge quality. I am not a big Numan fan but will definitely be getting this album – it will inspire many artists to up their game and reinvent their music. Numan is a pioneer and leader who, thirty-nine years since his debut record, is still turning heads.

Wyclef Jean – Carnival III

Release Date: 15th September

Label: Legacy Recordings

Why You Should Buy It: The Knocks and Emile Sandé are among the collaborators on the latest albums from the former Fugees man. Jean, speaking with Rolling Stone, talked about the concept of his Carnival albums: "My Carnival albums have always been about celebrating music culture from all parts of the world and Carnival III is no different,” the former Fugees member said in a statement. "It's outside the box. There’s genre-bending. There's new talent on there. Carnival III is more than just an album. It's a celebration of what I love about music: discovery, diversity and artistry for art's sake... It's about putting music together that will outlive me and live on for generations to come that is full of emotion, vibration and fun. Get ready."

Gucci Mane – Mr. Davis

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The rags-to-riches rise of Gucci Mani is one that demands focus and revelation through music. Collaborations with Nicki Minaj (Make Love) and Big Sean (Changed) mean there are bodies in the mix: the focus is very much of the rapper and his eleventh album. He was released from prison a year ago: this is his third release since that release. Friends like Chris Brown and Monic help make the album a success – their input and personalities are all part of the incredible brew.

Phil Selway – Let Me Go

Release Date: 15th September

Label: Bella Union

Why You Should Buy It: The Radiohead drummer is no stranger to solo territory. He has already released two sole L.P.S – 2010’s Familial and 2014’s Weatherhouse – and, in two weeks, prepares to release the music composed for the soundtrack to the film, Let Me Go. The title-track is especially impressive but the album as a whole shows what an accomplished composer and songwriter he is. One wonders, if Radiohead release another album, Selway might be afforded a rare lead vocal – perhaps greater writing responsibility. He has shown – as George Harrison proved during his time with The Beatles – there are often three great songwriters in a band. Thom Yorke and Jonny Greenwood are not the only Radiohead members capable of making a huge impact away from the band.

Prophets of Rage – Prophets of Rage

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: The supergroup are touring their native U.S. at the moment but, when their eponymous album is released; let’s hope they find time to come to Europe. The fact the band brings together legends Chuck D and (Rage Against the Machine’s) Tom Morello almost pales into insignificance when you consider how charged and angry the record is likely to be. A band that are not exactly ‘friends’ of President Trump, on their debut, will have much to say about his style of leadership. Prophets of Rage is likely to be one of the most combustible, gripping and exciting albums of the year.

Foo Fighters – Concrete & Gold

Release Date: 15th September

Label: Guwop Enterprises/Atlantic

Why You Should Buy It: Recent singles The Sky Is a Neighborhood and Run suggest Foo Fighters are on fire right now. They are a lot heavier than on recent releases and seem to have revived some of their early energy and quality. Sonic Highways, released in 2014, garnered mixed reviews and was seen as a bit bloated and contained too many collaborations. Concrete & Gold – despite the crap title – is a more stripped and focused album. In a year when some of Rock’s more promising artists are failing to live up to the hype: Foo Fighters seem ready to deliver an album that could kick Rock’s butt awake. It will be interesting seeing whether critics agree!

Phoebe Bridgers – Stranger in the Alps

Release Date: 22nd September

Label: Dead Oceans

Why You Should Buy It: Producers Tony Berg and Ethan Gruska did not have to work too hard to make the ten songs on Stranger in the Alps sound haunting and staggering. Phoebe Bridgers is a stunning young talent and a fine writer. Her songs tap into the personal and manage to articulate common themes with a unique insight and incredible sense of wordplay. A confessional and tender singing style mean her music, on the surface, would not sound dissimilar to anyone else. One need only hear a few lines (of any song of hers) to realise that is a myopic determination – her magic and vocals are racemose and highly intoxicating. Bridgers wanted the songs to represent who she is and what stage she is at: someone discovering their voice and taking the first big steps through music.

The Horrors – V

Release Date: 22nd September

Label: Caroline Distribution

Why You Should Buy It: With Paul Epworth on production duties; The Horrors’ fifth album sees the boys at their most progressive and dark. There is Dystopia (on V) but plenty of nuance and layers. Machine, the lead single, is one of this year’s best: the album is likely to contain the same level of quality and assuredness. This year, for British bands, there have been few standout releases. Few expected new material from The Horrors so, from out of nowhere, the band might well (already) have produced the best British band album of 2017.

Miley Cyrus – Younger Now

Release Date: 29th September

Label: RCA Records

Why You Should Buy It: The sixth album from Miley Cyrus is a more matured and settled affair. She is, and one can tell, happy, healthy and fondly in love. This does not mean her new album is a sappy and saccharine affair. The biggest shift is away from 2015’s experimental, Miley Cyrus & Her Dead Petz. Younger Now, with a more sensible and mature cover, is a calmer and less scattershot work – more focused songwriting and a woman tired of the party, controversy and troubles. The album title seems ironic and clever at the same time – she is wiser and more grown-up; aware of the reputation she still holds. Those who struggle to get past her former image – from Hannah Montana to her infamous Wrecking Ball video – will be pleased to see, before us, a serious artist utilising her Pop and Country roots. Singles Malibu and Younger Now are two of her biggest and finest singles to date. It seems this ‘new’ Miley Cyrus – a '2.0' or a natural maturation – is a lot more stable, secure and likable than some of her former incarnations. I suspect many critics will have some fond words to pay to Younger Now.

INTRODUCING: Skott

INTRODUCING: 

Skott

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OVER the weekend; I hope I can find time to…

PHOTO CREDIT: Ken Grand-Pierre

collate the finest artists playing in Australia – a part of the world I do not examine nearly as much as I’d like to. Before then, and, with a duty in mind, I wanted to highlight an artist who, to me, seems to represent all the good things about modern music. I will collect interview snippets and biography about Skott; a selection of her tracks/videos (at the end) and why she is someone to watch closely. In the coming weeks, like my Globetrotting series, I am going to bring some great artists into the fold. There is something teasing and mysterious about the Swedish artist. She is gaining traction in this country – thanks to her incredible songwriting and dedicated P.R./promotion teams – but, it seems, there is even more to the eye than one might imagine. It would have been easy for Skott, arriving from a modest community and background, to play a simple and aimless brand of Folk. At the weekend, again, time-permitting, I want to examine the rise of singer-songwriters and whether the acoustic/Indie movement is coming back – and whether artists like Ed Sheeran are taking it in the right direction. I have a lot of fondness for Folk artists – Billie Marten and Laura Marling, between them, have created two of my favourite albums in recent years – but, outside of that, I look for artists who manage to bring colour, contrast and eclectic insight into their music.

Skott is an independent and intuitive songwriter who does what is best for the song. She does not follow the patter and direction of the mainstream. Heavyweight Pop stars like Lorde and Katy Perry are fans: between them, the former especially, is no stranger to defying convention and producing an intelligent and mature brand of music. It is kudos and encouragement to Skott she has that patronage but, to be fair, she has earned her stripes the honest way. Rather than flaunting her (very obvious) natural beauty and femininity: the talented songwriter is the embodiment of the Antifolk movement that, thankfully, is starting to grow. Against the gloss, glitter and glamour of the mainstream; rather ironically, a song like Glitter & Gloss is a song one can compare to few others. There is an aspect of the legendary and established Pop/Electro scene in Sweden. Skott, someone who spends a lot of time here, takes aspects of classic Swedish Pop with their modern Electro; aspects of British Folk and American Pop. It is a kinetic, compelling and sense-heightening creation from a songwriter, you know, takes time to craft and consider elegance. The physicality, rush and unexpected intensity of the track grabs sunshine, sexuality and sensation together: drips in a suggestion of gasoline and sets the mother*cking thing alight! A summer-ready song that, rather unsurprisingly, has received healthy radio-play since its release – the fact it was released late in January was a premature, but confident, slice of summer.

IN THIS PHOTO: The cover art for Skott's latest single, Mermaid

Porcelain, the debut single, was a more beautiful and fragile bird. The rare and unique lyrical impressions, matched with a combination of Pop edge and Folk tenderness, is a song that addresses the fragility of structure and certainty. Even if one constructs and carefully curates a trust and relationship it can, for instance, break and shatter without warning. Lesser artists could throw cliché and tropes into a song lazy of composition and nuance. In many ways; Skott is a younger and less eccentric version of Björk. Mermaid, the new and already-celebrated track from Skott, is getting a massive amount of love from social media and journalists alike. Whereas earlier songs have emphasised the beats, electronics and sonic mood: here, there seems to be a bigger role for the voice. Skott, in all her peacock-like plumage, spreads her voice to create a song, at once striking and rushing; the next, sensual and ruminating. The song, in the manner its vocal soars and the composition creates tapestry and visions – and some typically assured vocals – reminds me, in a good way, of Björk and her innovations. It is hardly a shock, considering Skott was raised in a forest commune with musical outcasts, she has the dexterity and resourcefulness to find nutrition, sustenance and guidance from resources around her. In her mid-teens was the first time Skott experienced the rush and activity of the city – that, contrasting her more rustic and impressionistic lifestyle. One hears these disparate lives combine in songs like Mermaid. From a young woman who, during her childhood, would have been surrounded by a fair degree of art and storytelling – I can see where her she has gained those skills and qualities.

PHOTO CREDIT: Ken Grand-Pierre

In every song, not only Mermaid; the music videos are as striking and important as the song. Looking at Skott’s social media feed and it seems like the set-up and filming of Mermaid’s video was more complicating and time-consuming that one might imagine from the timelapse, accelerated videos of its creation. Few artists take as much care when it comes to videos: the feeling time is money and - money is best earned rather than spent. There is such a desire for quick music and fast turnaround. Skott is the antithesis and counterculture pin-up girl who throws an imperious look to those seeking a sexy, lurid video and easily accessible tune. Her music and visual/aesthetic sense is one of the main reasons Skott is unlike anyone else. She has topped various charts and been featured on Spotify’s New Music Friday lists – radio support from Annie Mac and Zane Lowe. Some big names have given their views on a rare talent but, in fairness, that is the least she deserves. There are so many like-minded artists who are competing in a compacted market. So few expend time forging a real identity and freshness: something that is mainstream-worthy but not too polished and generic. Skott takes guidance from artists in the mainstream but her music, as much as anyone, is from her own imagination and experiences. That transition from Swedish woodland to the various cities she has played in can only go into their music – it is impossible not to be impacted by that transition and awakening.

PHOTO CREDIT: Sarah Louise Bennett/Dork

Skott has spent a lot of time in the U.K. and has a connection with the fans. She is someone who belongs to the world but, if she was to reside and settle somewhere; one hopes it would be somewhere like London. I am not sure if that is in her thoughts because, right now, she is making plans. Mermaid suggests an album cannot be far away: I am not sure when/if it is imminent but one can detect the approaching murmur of an L.P. I can imagine, when that sees the light of day, the visual/physical aspect will be a huge consideration. I have not mentioned Skott’s single artwork which, uniformly, is eye-catching and stunning. Each song gets a different design and, alongside the videos, one is treated to incredible sites and beautiful designs. The ‘Skott Experience’ is more than the music itself. I cannot wait for an album because, when it makes its way to vinyl, you can bet there will be lots of pictures, inserts and great bits of arts. Maybe she will release different-coloured records and create a unique promotional campaign. I am not sure how the end of the year looks but, seeing as Skott is a woman whose music is capable of adding warmth in winter – raising the sweat-levels in summer – she is not bothered fitting in with festival schedules and releasing an album at the ‘perfect’ moment. She will unveil one when she’s damned ready and, let’s hope, there is something more before the year-end. Dates in Stockholm and London will feature in the next couple of months: she has played Lollapalooza and big festivals around the world.

So what of Skott's future?! Why should one spend time listening to her music? Take a listen to the videos below and experience how she has matured and developed as an artist. All of her songs are fantastic but, charting her rise and evolution; a distinct upping of the confidence and desire to succeed. With every passing month; Skott seems to pick up new influence and incorporates that into her music. Big tour dates and attention can only add to her confidence and drive her even more. Most her life has been spent moving from one life to the other: acclimatising to the first flourishes of music and adapting to the demands of the road. Things will get easier and better but, considering how many people are throwing their arms around Skott, she is doing something right – and doing it right now. There’s urgency in everything she does: success and fame are not the big motives and drives: she wants to create spellbinding songs that mark her aside from her peers. That is happening and, more than that, a personality that is hers alone. I have mentioned artists like Björk - but mentioned her in very flattering circumstances. Both are different but, like Björk; Skott is finding new ways to push music forward and create something long-lasting. I believe Skott’s music will distinguish itself so far above her peers she will have the same effect and impact as Björk. From album to album; one will chart developments and new themes – whether the heartache of love or the need to discover new lands and people. Sounds and visuals will go with that: whether Skott gives herself a personal makeover – or invents a new sub-genre – it is exciting watching the Swedish-born artist grow and smile. The music is sensational and winning hearts. The future is open for Skott: a woman who can change music and take the, rather stilted, mainstream to…

 PHOTO CREDIT: Sarah Louise Bennett/Dork

RARE new heights.

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Follow Skott

 Official:

http://www.skottmusic.com/

Twitter:

https://twitter.com/skottmusic

Facebook:

https://www.facebook.com/skottmusic/

Instagram:

https://www.instagram.com/skottpeace/?hl=en

YouTube:

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

Spotify:

https://open.spotify.com/artist/6J3RPKUwZlKMzh3vWa9wPc

SoundCloud:

https://soundcloud.com/skottmusic

FEATURE: Music from the Motion Picture… Discovering Music Through Film

FEATURE:

 

Music from the Motion Picture… 

 Discovering Music Through Film

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THE image you see above is, as advertised, from Baby Driver…

the recent film from British director, Edgar Wright. It scored huge reviews upon its release and, if you are curious about the plot; Wikipedia assess it like this:

“Baby is a getaway driver in Atlanta, Georgia. He ferries the crews of robbers assembled by Doc, a heist mastermind, to pay off a debt he incurred after stealing one of Doc's cars. When he was a child, a car accident killed his parents and left him with tinnitus, which he blocks out by listening to music on various iPods. Between jobs, he creates remixes from snippets of conversations he records while caring for his deaf foster father Joseph. While visiting a local diner, he meets Debora, a waitress, and the two start dating.

His next robbery goes awry after an armed bystander chases them down, but Baby evades him and the police. Informed by Doc that they are now "straight", Baby goes legit, delivering pizzas. During a date with Debora at an upscale restaurant, he is threatened by Doc into performing another heist at a post office.

The crew consists of easy-going Buddy, his wife Darling, and trigger-happy Bats, who takes an immediate dislike to Baby. While the crew attempts to purchase illegal arms for the job, Bats realizes the dealers are ex-police and opens fire, killing them all. Afterwards, Bats forces Baby to stop at Debora's diner, unaware of Baby and Debora's romance, and nearly kills her in a hold-up.

Doc, furious at the botched deal, tries to cancel the heist, but Baby convinces him to go through with it. He attempts to flee, hoping to take Debora and leave Atlanta, but is stopped by Buddy and Bats, who have discovered his recordings and believe he is an informant. When they and Doc hear his mixtapes, they are convinced of his innocence.

IN THIS PHOTO: A  shot/promotional still from Baby Driver

During the heist, Bats kills a security guard. Disgusted, Baby refuses to drive the crew, causing Bats to beat him. Baby rams the car into rebar which impales Bats, killing him. The three flee the police on foot. After police kill Darling, Buddy blames Baby for her death, and vows to kill him. Baby steals another car and flees to his apartment. After leaving Joseph at an assisted living home, Baby drives to Debora's diner to pick her up, where he discovers Buddy waiting. Baby shoots Buddy and flees with Debora as the police close in.

Baby seeks help from Doc, who initially refuses to help. After seeing he truly loves Debora, Doc supplies them with cash and directions to get out of the country. Buddy ambushes them in the parking garage and kills Doc with a stolen police car. A cat-and-mouse game ensues until Buddy has Baby at his mercy; he fires his pistol close to Baby's ears, deafening him. Debora disarms Buddy with a crowbar and Baby wounds him with the pistol, causing him to fall to his death.

Fleeing Atlanta, Baby and Debora run into a roadblock. Debora prepares to ram it, but Baby surrenders. At his trial, Joseph, Debora, and several people Baby saved during the robberies testify in his defense. Baby is sentenced to 25 years in prison with a parole hearing after five. Baby receives postcards from Debora who promises to wait for him. Upon his release, he finds Debora waiting and they kiss”.

That is a simple premise: you need to watch the film to get a much better impression of Baby Driver. One of the reasons I have bonded with the film is the soundtrack – I have not actually watched Baby Driver myself. I have the soundtrack on vinyl and it has opened my eyes to new artists and long-forgotten songs. Aside from all the interesting plot and exposition of Edgar Wright’s film: it is the conceit and central hook that really appeals. Someone who, suffering tinnitus, blocks it out listening to music, is a perfect way to construct a varied and passionate soundtrack. Wright did this and, whilst curating, was able to seamlessly link together a wide array of genres and artists. Bob & Earl’s Harlem Shuffle is one of the early songs one hears – Let’s Go Away for Awhile, by The Beach Boys, not long after. Looking down the tracklisting and you get T. Rex and Beck – Debora/Debra – and a bit of Blur (Intermission). Not only does one get a blast of the classic artists: modern examples such as Sky Ferreira and Run the Jewels appear towards the end. It is a quality-heavy balance that allows one the opportunity to discover (rediscover) some terrific music. To me, it is brilliant for two reasons...

IN THIS PHOTO: Baby Driver's Writer-Director-Executive Producer, Edgar Wright

The first, because it provides younger listeners/viewers the chance to discover music – artists they might not have thought of before – and, through their association with the film, go out and discover more about them. The second, when looking at the concept of Baby Driver, makes me excited to see if any more similar-themed films will crop up. I am going to feature other films in this piece but, considering the premise of Baby Driver, it seems appropriate to start here. I bought the vinyl of the soundtrack because of the music included on it. Maybe there should have been more dialogue snippets included – like Pulp Fiction’s soundtrack – but, given an almost mute sense of dialogue in place; it wasn’t the easiest thing to do. One gets a fantastic impression of the film but, more importantly, a genre-blend of artists that will open many eyes to terrific music. I know most of the songs on the soundtrack but know many will not have.

IN THIS PHOTO: Sky Ferreira, who appeared in the film (and on the soundtrack)

I cannot argue how crucial it is we preserve music from past generations: pass them onto the new and ensure we do not become slaves to the modern and machine-created. I do worry we’re too narrow with music tastes and chase after songs promoted via Spotify. That is necessary – so we can conserve and profit our best new musicians – but so many of us are genuinely spending adequate time listening to the best music of the past. I am not saying Baby Driver, and its incredible soundtrack, is powerful enough to turn the tide – that would be quite a feat, I know! What it does do is (I hope) inspire other directors/writers to feature music more prominently in film. In a sense; Baby Driver has that classic feel: the likes of Easy Rider, Pulp Fiction and A Hard Day’s Night. More-modern films like Garden State have been important platforms to promote great/underground music; Trainspotting and Superfly, diverse and hugely memorable – Help! and Purple Rain: titanic soundtracks from legendary artists.

There is an enormous emphasis on studio albums: we forget how important film soundtracks are. In a way, they are a bigger-budget way of stringing incredible music videos together. Essentially, one gets a visual treat, accompanied by a tremendous song. It is a powerful combination that appeals to all the senses; firing the imagination and lodging in the brain. Baby Driver, the way it brings so many different time-periods and artists together, has sparked something in me. I would love to see a film like that further down the line – where music is prominent and the epicentre of the piece. In the days/weeks following Baby Driver’s cinematic release; I have heard so many people talk about the music – in so many different, impassioned ways. The way certain songs augment scenes and perfectly suit visuals: how songs from different eras effortless sit alongside one another.

Edgar Wright’s knowledge and intuition helped turn, what could have been a potentially ill-judged, mismatched vanity-project, into a symphonic, explosive piece of cinema, is a credit to his talent and experience. Of course; full props must be given the actors and crew that helped make Baby Driver an engrossing and perfectly-acted piece of cinema. It is the music, for me, that draws me to the film. I have, since purchasing the double-vinyl soundtrack, reinvestigated artists like Bob & Earl; Dave Brubeck is back on my mind (Unsquare Dance appears in the film’s first-half, I believe); rekindled my childhood passion for T. Rex – discovered new musicians like Carla Thomas, Alexis Korner (and his Blues Incorporated) and Kid Koala. (I, by the way, do not italicise film/T.V. titles so I can differentiate them from music – a little aside I thought I’d bring in). I am not a fan of T.V. adverts because, I feel, they are among the most irritating things on the planet – that list is getting longer by cyclists are at the top of it!

IN THIS PHOTO: Carla Thomas

Many people have discovered music through adverts but there are few (adverts) that make me want to keep watching – the songs used are never really that striking or unexpected. I do question people who allow their songs to be marketed in that way – scoring some cheap and noxious product/service. Film is different. The artists are not hocking some crappy insurance provider or pointless product: they are helping lift and define a unique moment of film. The connection and close relationship between film and music have always existed. I am fascinated by films that employ music as a background device - a few songs that do not feature prominently; a more traditional score, perhaps – and those that put songs in the forefront. Of course, one cannot discount film scores that use orchestration as an important use of sound/music. The greats like Hans Zimmer and John Williams have encouraged many to study music and follow their heroes. To me, it is the interconnection of popular music and film that fascinates – how music can reach new audiences by featuring on celluloid. I will move on from Baby Driver to another recent example: the Guardians of the Galaxy franchise.

IN THIS PHOTO: A promotional shot from Guardians of the Galaxy

My parents, when watching the first film – the second instalment was released earlier this year – highlighted the incredible music that was played throughout. In that first film; one got a pre-'90s-heavy confection of selections. Everyone from 10cc, David Bowie and Blue Swede appeared on the soundtrack. The second, bigger-budgeted and, in my view, finer, featured everyone from Fleetwood Mac (The Chain) to Sam Cooke’s Bring It On Home to Me. Jay and the Americans’ Come a Little Bit Closer rubbed shoulders with Parliament’s Flash Light. Glenn Campbell and George Harrison featured and, whilst remaining less-than-contemporary, the film’s soundtrack was built around a mixtape concept. Whereas Edgar Wright compiled a mixture of older and new: writer/director James Gunn went for slightly older recordings – the character Peter Quill/Star-Lord had all the songs (on the soundtrack) as part of his mixtape; hence the reason the music is not of-the-moment. In fact, tracking back to that earlier point: Wright contacted Gunn to ensure both films contained different songs. Each knew the other was working on a music-heavy release – to have both films replicate would have been a bit of a fashion faux-pas.

As it was; both films rocked out into the world in f*ck-me pumps and a head-turning outfit. Both films eschew the worst necessities of the modern music market: emphasising the importance of Spotify streams and getting those mainstream artists racking up the viewing figures. Edgar Wright, a child of the 1970s and '80s, grew up in a time when music was as much to do with hardware and the physical as it was becoming ‘popular’ and ‘cool’. I, growing up slightly later, appreciate how important it is to preserve the heritage and true value of music – I am not someone who follows the apparent-cool who lust after everything digital and Taylor Swift-endorsed. The reason films like Baby Driver and Guardians of the Galaxy resonate is their incorporation of music. Neither film employs the songs synthetically and casually: one detects a deep and studious approach; both directors crafting a soundtrack that perfectly links visuals and sounds – the near-obsessive/nerd-like crate-diving that must have gone into the soundtrack makes me smile.

IN THIS PHOTO: James Gunn/PHOTO CREDIT: NYDailyNews

The same way a wonderful music video balance the beauty and power of visuals and sonics: a wonderful soundtrack can have its scenes elevated (by music) and put an array of stunning musicians into the hands of the uninitiated. As I said earlier: my musical education has been given an additional government grant by the likes of Edgar Wright and James Gunn. In FACT; I can trace my obsession with music to those legendary film soundtracks from Quentin Tarantino and The Beatles. The former, Pulp Fiction especially, again, created a film where music played a pivotal role. Pulp Fiction – deriving its name from hardboiled crime novels and pulp magazines of the mid-twentieth century – had that neo-noir quality and aperture to it. Consequently, within the cool-as-sh*t diners and milkshake bars – the 1950s bars and romantic ideals of older America – one heard music by artists of the time. I will nod to other classic soundtracks later but, for me, 1994’s Pulp Fiction was an eye-opening experience. I was eleven when the soundtrack dropped it trousers and, as such, was awakened to some incredible songs! Tarantino’s use of eclecticism ensured he created one of the defining film soundtracks of the 1990s. Alongside Dick Dale’s now-iconic version of Misirlou; Jungle Boogie (Kool & the Gang) and Dusty Springfield’s Son of a Preacher Man.

Instrumental Surf songs and classic Soul mingling with Funk and Jive – such a rich and sexy blend of sounds and sensations. Of course, it would be foolhardy to suggest Tarantino discovered and compiled all the music himself. Consultants and friends like Laura Lovelace and Chuck Kelley were instrumental in the process. Pulp Fiction’s soundtrack sold over one-million copies in 1994 (two-million by 1996) and helped launch bands like Urge Overkill – who covered Neil Diamond’s Girl, You’ll Be a Woman Soon. Other artists, like Kool & the Gang, enjoyed a (brief) resurgence: relatively obscure songs and popular hits were bequeathed to those unsuspecting and curious. Other directors/filmmakers use soundtracks as repositories for random songs: the likes of Quentin Tarantino, in his fever-dream imaginations, helped mirror the visuals with music; music used as an extension of film – the two, partners-in-crime and thick-as-thieves.

IN THIS PHOTO: Dusty Springfield

One of the good/tragic legacies of Pulp Fiction was advertisers using Surf music – popularised and prominent in the soundtrack – to sell toothpaste, burritos, any-random-crap-we-can. Actually; that might be a savage naivety and judgement. How one discovers music should not be judged. Dick Dale and artists from the soundtrack had their music used in commercials – years after the original release of Pulp Fiction. This meant ‘outsider’ genres and niche sound being brought into the mainstream – passing that music to the new generation and, as a result, artists of the time incorporating Surf into their music. There is a causal link between epic/influential film soundtracks and the resurgence of certain styles of music. If it has that impact and quality to it – whether it passes through advertising on its way down – the music (on the soundtracks) can endure and inspire years/decades after release.

IN THIS PHOTO: Pulp Fiction's Writer/Director, Quentin Tarantino

I guess, somewhat ironically, me talking about film soundtracks, is a thinly-veiled desire to see my work get into the hands of radio stations/music magazines – this version of a C.V., in terms of ethics and questionable motives, not dissimilar to advertisers, I guess. My gamble, I know, is just that – and, the reason for writing this piece, was to argue how important film soundtracks are. Naturally, there are many film soundtracks that will be overlooked – time and my fingers are limited – but, by including some of the best, it shows how music plays an intrinsic role in film. Consider The Beatles and the impact their soundtracks had. Maybe films such as Magical Mystery Tour and Help! were not big critical hits (the former especially) – the music contained on each remains some of their best. In 1965, when Help! was released, it was a landmark period in The Beatles’ history. It (Help!) was released at a time when the band was releasing albums solely comprising original compositions. Rubber Soul was, effectively, the studio release that proved how confident Paul McCartney and John Lennon were as songwriters during 1964-1965.

The most-popular film soundtrack from The Beatles was A Hard Day’s Night. Released in 1964; it was one of few film ventures that saw the quartet roundly applauded. Less-successful efforts were to follow: this was their black-and-white masterpiece that provided a more realistic and simplistic view of the boys – no gimmicks, head-tripping visuals and bizarre conceptions. During that mid-1960s period; the band was still in a more traditional Pop headspace: their psychedelic experimentations and studio-bursting records would not arrive for another couple of years. A Hard Day’s Night is important for so many reasons. It is the first Beatles album consisting original compositions. Lennon and McCartney, sequestered in a Paris hotel room with a piano, for the most part, were focused and committed to creating a focused Pop album with short and sharp tracks. The album/film opened the American market to bands like The Rolling Stones and was a hugely important time for The Beatles. It is debatable whether the band would have taken this huge step were it not for the film’s appealing premise. A Hard Day’s Night (film) is, essentially, The Beatles being themselves: performing and larking about; a window into the personalities of the lads. Because of this; Lennon and McCartney were eager to pen a score that mirrored the music they wanted to write at the time – stepping away from covers and forging their own identity. That film, when I saw it years ago, really opened my eyes to The Beatles’ early period and the incredible strength of the songwriting.

IN THIS PHOTO: A shot from The Beatles' film, A Hard Day's Night

A Hard Day’s Night, prompted by a typical Ringo Starr malapropism, became one of the most important film soundtracks of the 1960s and helped bring The Beatles’ music to new audiences. The success of the film meant other bands/directors were provided the confidence to use music more prominently in films. Those incredible soundtracks that stuck in my young mind, from The Blues Brothers and Easy Rider, gave me a great appreciation of cinema and music. I was a big fan of music before I discovered film – I am not, by any measure, a big film fan – but connected visuals and sounds in a manner that has impacted my subsequent life. Were it not for the energised dances of Jake and Elwood Blues to songs such as Everybody Needs Somebody to Love – I am not sure I would have been as gripped and fascinated by music. Even though The Blues Brothers was released three years before I was born: I discovered it as a child and was provided exposure to some great Soul artists and music icons. By covering songs from Aretha Franklin, Ray Charles and John Lee Hooker: I investigated the original recordings and, as such, expanded my horizons. I know others would have taken the same approach and, in the process, got into certain music quicker than they otherwise would have (compared to radio and T.V. promotional channels).

Easy Rider’s soundtrack, released in 1969, was heavy on the 1960s' sounds. Again; this is a film that arrived to me when I was young (too young to legally watch it) but, the same way as The Blues Brothers provided a route into Soul and Gospel: Easy Rider’s blend of Rock and Folk was a ‘musical commentary’ that perfectly scored the film’s characters and stories. Music by Steppenwolf, Jimi Hendrix and The Byrds were all in the mix – an exciting array of big names that made me eager to unearth more recordings; get a bigger impression of the 1960s’ best. It is, as I have said, impossible to name-check all the great soundtracks out there. Any good and worthy film understands the importance of music and how the visual and sonic mediums are best when combined in harmony. It is those films that prominently and prolifically feature music that appeal most to me – and are more instrumental in getting music, and overlooked artists, into the public forum. As a child; I watched great films like Easy Rider and A Hard Day’s Night, and was drawn and awe-struck by the music that helped define a particular scene. Those examples have been crucial to me: newer films are equally important and help me find songs/artists I might otherwise have overlooked. I know streaming sites and platforms play their part but, to me, they are more impactful for new/mainstream acts. There are many who understand the importance and place older music has: it is where current music came from and the reason it has evolved/came on the way it has.

I will end this feature but, before I do, wanted people to consider the way, consciously or not, we have bonded to films because of their music – and how, when the cinema lights came back up, the excitement we got listening to the soundtracks; purchasing them from the shop and casting our minds back to the time we heard the tracks scoring a fantastic scene. Film soundtracks are one of the few outlets where you can legitimately combine songs from new and older artists. It is a wonderful access to music’s true breadth and brilliance and, through films modern films like Guardians of the Galaxy and Baby Driver – and classic scores from Pulp Fiction and The Blues Brothers – new generations are discovering music they might not otherwise have been aware of. That is a wonderful thing so, to all the Edgar Wrights and Quentin Tarantinos of the world; keep up the grand work and let’s hope future generations…

 IN THIS PHOTO: Lily James, in a shot from Baby Driver

FOLLOW in your footsteps.

FEATURE: X-Why? The Issues Faced by Female Producers in a Male-Dominated Industry

FEATURE:

 

X-Why? 

IN THIS PHOTO: Producer/songwriter Abra/PHOTO CREDIT: Alex Cretey-Systermans

The Issues Faced by Female Producers in a Male-Dominated Industry

________

SINCE I started this blog; I have become more interested…

IN THIS PHOTO: Grimes is one of the most respected producers in the music industry

in and angered by the gender imbalance in music. In front of the microphone; there seems like an even disruption between the boys and girls. Various genres see men or women taking the majority share but, when one listens to the songs we all enjoy, you have to ask the question: how many of them were produced by women?! I will end the piece by looking at a selection of upcoming female producers who have to fight against stereotypes and poor practices in the industry. I want to bring in articles that help back up my argument: there are many who feel women have no place in the recording studio – mixing, engineering or producing, that is. The same way there are few women being given headline slots at festivals: there are very few being encouraged into studios to do what, even today, are considered ‘men’s jobs’. There are perceptions that women are more vulnerable to taking time off – maternity leave being a concern for studio bosses. If a potential employee is going to take a few months-a year away from the studio: how reliable are there going to be?

PHOTO CREDIT: Wikipedia

It is a criminally sexist idealogy but one that, to many, is holding them back from applying. Not every woman on the planet wants to reproduce: there are many who already have children or are capable of balancing the demands of professional record production with being a mother. In any case; there are prejudices that are present in all areas of the workplace – not only the music industry. Women, as we know, are paid less and, when looking at music, they are still being seen as inferior and less capable. If a woman, say, is more emotional and sensitive than a man – can they handle the stress and demands of a headline slot? Seeing more women become producers, defying limitations, is very pleasing to see. Even as recently as a few years ago; shocking statistics outlined how widespread and alarming the issue is – very few women being recruited and encouraged to produce.

PHOTO CREDIT: Pixabay

A 2012-article by the BBC outlined the issue:

“In the UK the situation is the same. The Music Producers' Guild says less than 4% of its members are women. And the Liverpool Institute of Performing Arts says only 6% of the students enrolled on its sound technology course are female. That figure hasn't changed for three years.

Yet the problem seems to be restricted to rock and pop. In the theatre, in Hollywood, in radio there are dozens of female sound engineers. Roughly one-quarter of the BBC's sound mixers are women.

"There are no social barriers to a woman becoming a record producer," says Prof Rogers.

"The more stringent and insurmountable constraint is the biological one. A man can, technically speaking, reproduce on his coffee break. It doesn't take all that long, and biologically it doesn't take much of a toll. For a woman, the opposite is true.

"The typical lifestyle of a record producer is very intensive, very competitive, all-consuming. In order to be able to maintain that level of focus and attention and dedication to your craft, it has to come at the expense of reproduction."

"The women who do get into it will do really well... until they reach that point in their late 20s where they say, 'Now its time to have a family'. I tell my female students it's going to come for them. It came for me, and I opted not to have children, to not get married."

Influential women like Cordell Jackson – founding her own label, Moon Records (in 1956) - produced early Rock ‘n’ Roll songs. Sylvia Robinson produced the Hip-Hop classic Rapper’s Delight; Susan Rogers engineered Prince’s Purple Rain and Sign o’ the Times – working with Barenaked Ladies and Crosby, Stills and Nash. Leanne Unger produced and engineered albums for the likes of Leonard Cohen whilst Sally ‘Louder’ Browder emerged from California’s Punk scene to produce records alongside artists like Dwight Yokam.

IN THIS PHOTO: Legendary producer and engineer Trina Shoemaker

Trina Shoemaker, who I shall mention later, has won three Grammys and worked with Sheryl Crow, Queens of the Stone Age and Emmylou Harris. Shoemaker, when talking with BBC in 2012, offered encouraging observations:

"Women are entering the field in drives now. There's maybe a 20-year curve before they're fully recognised. But look at doctors - they're pretty much equal now.

"I don't know about pay scales, but if a surgeon walks in and it's a woman on her 800th cardiac surgery, I want her, not the young dude who just walked out of medical school.

"So I think about the time I retire, we'll see a very level playing field."

IN THIS PHOTO: Grammy-nominated, engineering pioneer Emily Lazar

In the years since that article; more courses have been set up and more women are pursuing careers as producers. Every year, mind, a new article emerges that questions why producing and engineering is a male-heavy sector. One would be forgiven to jumping to conclusions but the simple reason is this: there is not enough positive recruitment and proactive effort from the men who currently own the studio landscape. I will come to my own interpretations and views but, reading a 2016-article - from Cuepoint - noticed how, since 1974, only six women have been nominated for a producer gong at the Grammys.

“In this year’s GRAMMY Awards, no female producer has made the cut for a Producer of the Year, Non-Classical nomination. That, unfortunately, is nothing new. Since it was introduced in 1974, only six women have been nominated in the category. Past female nominees include Janet Jackson (the first female nominee ever, in 1989, who was nominated with her team Jimmy Jam and Terry Lewis for her album Janet Jackson’s Rhythm Nation 1814), Mariah Carey (nominated as a pair with Walter Afanasieff for her album Emotions in 1991), Paula Cole (the first woman to be nominated solo, for her album This Fire in 1997), Sheryl Crow (for her album The Globe Sessions in 1998), Lauryn Hill (for her album The Miseducation of Lauryn Hillin 1998), and Lauren Christy (as one half of the production team The Matrix, for their work with Liz Phair and Hilary Duff in 2003)”.

IN THIS PHOTO: Music student Nyasha spoke with The Fader as to why she took up producing

The article highlighted how the studio can be quite an antisocial and dank environment. I have been in a few rather small and modest studios – it is a very quiet and serious atmosphere that does not encourage sociability and conversation. Even the high-end studio facilities are male-led and rather clique-driven. There is boys’ talk and it can be quite hard for women to naturally assimilate into that dynamic:

“Given that less than 5% of music producers and engineers are female, there isn’t much room for social growth for women in the industry, going hand in hand with an equally limiting professional growth trajectory wherein men traditionally work with, answer to, and promote other men. KK Proffitt, owner and chief engineer at JamSync, a small studio in Nashville, says the imbalanced gender dichotomy can be intimidating for women, especially when it gives men carte blanche to act unprofessionally”.

It seems, even in 2017, music production/engineering is a parochial industry where women are assigned specific roles – the same sexist secretarial sub-duties that see them subversively resigned to the shadows. The high-end equipment is bought, largely, by men and there is that impossible cobweb: how do we untangle ourselves from the current malaise?! There are positive signs, yes, that women are becoming more determined to overcome the odds and get into the studio. I do wonder whether they are likely to be met with the same respect as men and, when they do become producers, they will receive the same pay?! Music courses in Production are open to men and women, but it is attitudes that are holding many women back. If a woman looks at the statistics - and feels she would not stand a chance of being accepted into a modern recording facility – how likely is she to take up production and follow that career-path?! I wanted to dedicate the second-half to positive and celebratory concerns so, before moving on, a few new angles that query why there are so few female producers. The Fader, back in 2014, asked new female producers why they have been hesitant. Caroline Polachek, a New York-based producer, laid down some truths:

“There are plenty of female artists out there now who are self-produced and doing cutting-edge productions to surround their own vocals or compositions, which is vital part of the musical landscape right now, but the resulting message is that the female producer is an aesthetically presented vocalist who only produces her own songs”.

IN THIS PHOTO: Producer and songwriter Caroline Polachek

It is true there are a lot of new artists coming through that are producing their own songs – women, I mean. So many of the female artists I feature produce their own material and do so in a D.I.Y. manner. Maybe a lot of the issue comes in the big studios: there is evidence to suggest a lot of underground artists are taking control of their own music and producing their own stuff. There are many female artists learning production via apps., technology and YouTube tutorials. This is a way to navigate the sexism of the studio and prove they are as worthy and talented as their male peers. Toronto’s WondaGurl offered a practical solution to the issue of few female producers:

“I feel women should enter more beat battle competitions, that would be the first step in getting noticed by people from all over. There are many industry people that attend those events and that I feel would be a good place to promote yourself”.

What is evident is there is little room for new archetypes and progressions. Music is a stubborn industry that prefers the ‘old way’ and not amending the Constitution. The sacred and rigid decades-old decelerations have not been met with adequate rebellion and protest. Many women are speaking out but how fruitful is that when few men are adding their voices to the debate?! Sydney producer, Anna Lunoe, offered more (sage) advice:

“The more there are in the public space, the more young girls will see it as a option for them from a young age and find the confidence to start learning. That means we need women not only to be producing but—and this is important—to stimulate meaningful change we need them to actually rise to the top and become visible. Producers by nature aren't always visible, so that means to create most change, she must not only be a producer but also potentially have what it takes to be a performer—publicly seen and embraced. We all are aware of the standards expected of women in this area so I'll just leave that there”.

IN THIS PHOTO: Music student Alex spoke with The Fader as to why she took up producing

Every example and testimony I see; it seems to say the same thing: there is not enough will and determination to change things. Every female producer in this article, I am finding, says they hesitated because the top-bods were not being sufficiently gender-fluid in their promotional campaigns. The way to override and subvert the male-led hierarchy and hegemony is to revise the mission statement: producing is fit and open to everyone! Established New York-based producer Emily Reo, explained ways we can encourage more women into the field:

“But since that takes more time and effort and equality doesn't seem to be much of a concern to the industry higher-ups, we need to keep having this conversation and having it loud. If pop music's audience is vocal about a change needing to happen, maybe we can shake the structure from the bottom. Profiling talented female producers and engineers more frequently is a start”.

These arguments are all quite impressive and give the men at the top much food for thought. It seems the Pop market is the most monetised and profitable side of music. Why, in an industry where so many of its players are female, are there so many female producers? It seems it is not only reserved for the production side of things: many of the writers, who appear in the top-forty, are men. The statistic in this 2016-piece lay it out bare:

“A look at the charts tells us 74 people produced the songs in the Top 40 this week, but only 3 of them were women. Three. Those women were: Bebe Rexha for G Eazy's "Me Myself & I," Meghan Trainor for "Like I'm Gonna Lose You," and Wondagurl for Travis Scott's "Antidote."

And none of them produced a song on their own without a man. 37 of the Top 40 songs this week were produced by an all-male team. That's 92.5%.

And this is not a number exclusive to February of 2016. In our data for the Top 40 for 2015, we found that only 3.8% of Top 40 producers were women last year.

 IN THIS PHOTO: Marcella Araica

Even though this week, Rihanna and Drake's "Work" is sitting high at the top of the charts, only 17.5% of Top 40 songs were performed by only women. And 67.5% of songs were performed by men without any appearances by a female performer. Just for comparison, women performing alone have 7 songs in the Top 40. Drake and the Weeknd alone have 6 songs.

Things are no better than they were last year. For all of 2015, women only made up 25.8% of the 178 performances that hit the Top 40.That number—25%—manages to hold steady despite how many songs come and go in the Top 40. This week, women make up 30% of songs in the Top 10, but only 15% of the Top 20.

It’s almost like there’s a cap on how many women are allowed to succeed on the charts.

And when one of America's Top 40 performers is accusing her producer of rape and emotional abuse, it's hard not to wonder if the barrier to enter the Top 40 is built out of a lot more than just how good of a hook you can sing.

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps; the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Producer/songwriter HANA/PHOTO CREDIT: Jasmine Safaeian

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

IN THIS PHOTO: Alicia Keys is among a number of high-profile musicians who have produced their own music 

In addition, again this month, women make up an even smaller percentage of the songwriters on the Top 40. Only 15 of the 143 writers it took to make the 40 most popular songs in America were women. That’s 10.4%”.

A lot of the famous and high-profile female producers are inspiring others to get into the industry. One only need look at the credit-sheet of Linda Perry, Marcella Araica; Emily Lazar and Sylvia Robinson, between them, have produced everyone from Duran Duran, Gwen Stefani; David Bowie and The Dixie Chicks. Taylor Swift and Britney Spears have produced a lot of their music; so too have Alicia Keys, Beyoncé and P!nk; throw in Lady Gaga, Katy Perry and Nicki Minaj – M.I.A., Lauryn Hill and Shura. A lot of those names are mainstream and established but there are so many, away from the bright lights, laying down and producing their own sounds. Perhaps, the issue is with the mainstream and setting a great example.

We all know about those Pop/mainstream female producers: they are doing their best to encourage fellow women to produce and swim against expectation. That poverty of expectation is only being fuelled by male producers who have a duty to encourage balance and equity. The issue does not lie solely with them: those label bosses, established industry heads and their ilk need to do a lot more than they are right now. Courses, run by the likes of London Academy of Music Production are great places to start.

IN THIS PHOTO: Australian-born, London-based producers/artists NERVO

They are gender-blind and are excited to welcome talent from all around the country. We need to make these courses and institutions more visible. The government is not expending adequate finance and awareness to the problem at hand. Sexism is not confined to music production: festivals are culpable of restriction female headliners; mainstream management and record labels sexualise and exploit their female talent. There are a lot of female D.J.s coming through but, speaking with many in the industry, they still get paid less and are afforded few opportunities. There is that insinuation (women) are less capable of packing a room or handling the demands of the job. Many are promoted because of their looks at physical assets – many are quitting the industry because they are not being taken seriously. Dani Deahl; speaking with EDM in 2014, gave a perfect argument/solution:

“I think it's cultural and societal. Women are still brought up surrounded by influences that steer them towards certain careers, certain mindsets, certain pathways. It's a lot of learned behavior - I found while researching for my talk that almost all the female producers I interviewed were brought up in households similar to mine - ones where parents didn't differentiate between 'boy' activities and 'girl' activities. We get so wrapped up in gender roles.” Navigating her path into the male-dominated business, Dani said, “As far as music, I just do what feels right. Lately that's been incorporating bits of riddim and lots of drum work into tracks, because that ignites a visceral feeling for me when I make it and play it. At the end of the day, it's just about feeling like I'm being honest with myself and all the fans, who are like friends. You wouldn't lie to your friends.” Dani’s success includes producing a Billboard charted track, three performances at Lollapalooza, and running a successful blog. For aspiring female producers, Dani is open to discussing and sharing her thoughts with others. “People can go ahead and tweet me questions, I'm always more than happy to answer.”

PHOTO CREDIT: Chvrches' Lauren Mayberry has spoken out against sexism in the music industry

I will end with a selection of the female producers, established and rising, that are worth your time and respect. Women in the industry, such as Chvrches' Lauren Mayberry (above); have spoken out against sexism and revealed the discrimination she has encountered. There are wonderful articles such as this, and this - that highlight women making a stand – and how we can challenge ill-advised conventions. That latter example, by The Conversation, asked how to fight the cannon and queried why women in Rock, especially, are being marginalized. It went on to discuss why women in Pop are objectified and belittled – bringing the recent case of Ke$ha and the trial with former producer Dr. Luke. Backing up my argument; this was said:

“For women, questions of representation become important here – if you don’t see anyone like yourself being presented in the canon, it is harder to imagine you can make good music. Thus a male-dominated canon works to exclude potential future women musicians.

Those women who are successful are more often in the pop genre. Pop success often entails having a highly sexualised image, and is generally not taken seriously by critics.

Young women trying to break into music also have to deal with the way social spaces connected with music are often marked as masculine and policed by men in various ways.

Many women musicians have reported belittling and dismissive attitudes by men in live music venues, music stores and when learning music. It seems few female musicians have not been asked at one time or another whether they’re “with the band”, or if they’re just there to watch their boyfriend, or had their technical or musical abilities called into question”.

IN THIS PHOTO: Courtney Barnett remains one of the only Australian, female Rock musicians making a mark on the international stage

There is a wider dialogue that deals with female artists and songwriters. They are not being represented and it seems a larger epidemic needs medicinal and aggressive exorcism. I am buoyed, on the one hand, there are so many hungry and talented female producers emerging. The mainstream best and underground treasures show there are plenty of female producers that warrant respect and investigation. The problem we have still lies with those decision-makers at the top of music’s pyramid: the men, whose influence and patronage, trickles down to their fellow MAN. There are few male journalists joining the discussion and speaking out against their gender. Maybe there are fears revolving around accusation and repercussions. I feel there is a general passiveness and hesitancy that needs to stumped-out. I will finish my portion by bringing in a producer I will name-check down below. Laura Marling, and her Reversal of the Muse series, chatted with various women in music – their experiences and problems faced in the industry. Two particularly worthwhile editions are her chat with songwriter Karen Elson and producer Jonathan Wilson. They discussed how women can become more interwoven and collaborative with male producers:

Another, rather interesting podcast, is with engineer Olga Fitzroy - who was distilled on the website, thus:

“Together they discuss whether women are able to meet the demands of working in a studio and still have children, or if the two are mutually exclusive which has consequently lead to the male dominated environment. Laura also notes that women scientifically hear differently to men, which sparks the question: Have we been creating records for the male ear, as most of our studio mixers are male? Olga and Laura consider if we’re missing a feminine part to everything behind music and the way it’s created.”

IN THIS PHOTO: Engineer and producer Olga FitzRoy

Lauren Deakin Davies spoke with me earlier this year - and I asked her the following:

"I know a lot of female P.R. bosses but few women based in studios. Why do you think there are so few behind mixing desks, producing artists? What can we do to change this?

This is the million-dollar-question I get all the time. It’s definitely not down to one thing. I believe it’s a hangover from an older way of thinking and a subconscious thought process where girls are encouraged to be singers before they are encouraged to be engineers. It doesn’t necessarily come from a place of malice. I just think it’s not directly encouraged.

There are so few role models and seeing a woman in the studio behind the desk is so rare (I have been given the tea orders more than once when I have been behind the desk!). It’s usually men who are featured and photographed in the industry magazines.

Although, there is a definite desire to change this which I’ve noticed especially within the Music Producers Guild – of which I am a full member (and for sure, there’s not that many women members yet: but we hope to change this!)".

As you will hear form the interview below - from 08:24, then, a minute later - Deakin Davies talks about her musical'/producing teaching - and why it is important to keep learning:

This morning, at around 9:30; she spoke with BBC Three Counties (about forty-five minutes in) to discuss the issue of women in the studio – and what can be done to tackle the problem. It is, literally, the freshest argument I can bring in so seems, as I give you a guide to the great female producers around, a perfect place to end...

FEMALE PRODUCERS TO WATCH:

Catherine Marks

Website: http://www.catherinejmarks.com/

Location: London, U.K.

BIO:

“Having worked closely with legendary producers Alan Moulder and Flood in the past, she now has over 10 years of experience working in studios all over the world. Her production, mixing and engineering credits include Wolf Alice, Sunset Sons,  Foals,  Alex Winston,  PJ Harvey, Champs, Frank Carter and The Rattlesnakes, Howling Bells, Kanye West, Ian Brown, MIA, Placebo, Ride, Killers and Mr Hudson.Collaborating with new bands and established artists alike, Catherine is always endeavouring to get the best out of those she works with. Completely in tune with the mechanics of the studio environment, Catherine is calm, devoted and passionate about each project she works on making the artists feel relaxed and positive about creating and experimenting in the studio”.

Interview: https://www.youtube.com/watch?v=gM44gjbavfM

Crystal Caines

Website: https://twitter.com/CrystalCaines

Location: Harlem, U.S.A.

Interview: https://www.youtube.com/watch?v=Fin6ZBVY3MA

PHOTO CREDIT: Cassy Paris Bellanova Photography

Lauren Deakin Davies

Website: http://www.laurendeakindavies.com/

Location: Hertfordshire, U.K.

Testimonials:

“I honestly don't think I could've made Songbirds without Lauren.  Her openness and willingness to try things differently meant that we created a very unique sound.  A very  unusual mix of quiet confidence with a youthful/fresh perspective makes her a particularly strong producer to work with”- Kate Dimbleby (four plays on BBC Radio 2 and four on BBC 6 Music)

“Lauren's relaxed and friendly personality brought out the best in all of the guests at the recent London Red Bull #Normal Not Novelty workshop she ran. She tailored the content to make sure that everyone would learn something useful, and she asked all the right questions of the guests to get them engaged and involved. Lauren is extremely talented in many areas, and she used her many skills to give guests invaluable information - thanks for speaking at Normal Not Novelty Lauren!’ - Katie Tavini (Mastering Engineer/Host at Red Bull Studios).

"Lauren came to our music collective in Bristol to deliver a workshop about production and recording in a home studio environment. She kept the group engaged from start to finish and many of the participants commented on how much she covered in a short space of time. Lauren is able to bring a great range of information together in a way that is accessible, easy to understand and well pitched to the group in front of her. What she delivers is hands on and practical as well as technically informative. We are looking forward to working with her again soon" - Anna Kissell, Bare Bones Collective.

Caroline Polachek

Website: https://twitter.com/carolineplz?lang=en

Location: Brooklyn, U.S.A.

Interview:

“Do you imagine that people will recognize you more as a producer now?

My hope is that people will sort of realize that I’ve been in there the whole time. And also that it might make people look at what I do next a little bit differently”.

Source: https://thecreativeindependent.com/people/caroline-polachek-on-making-work-thats-useful/

PHOTO CREDIT: VALERIA CHERCH

Cooly G

Website: https://soundcloud.com/coolyg

Location: London, U.K.

Interview:

“At what point did your love of music turn into a desire to make it? 

The first time I felt like wanted to make something for real was when I was DJ-ing when I was around 7 or 8 years old. When I first mixed a tune properly together and I heard something else from that track I thought, oh my god, that could be another track. I didn't know you could actually produce tracks, I didn't even know how people made tracks really. I didn't know that I could have a computer in my house, and a keyboard, and the software, and just make beats. So when I got the chance to go into the studio, that's when I started to make tunes. I wasn't taught anything. I just learned everything myself”.

Source: http://www.thefader.com/2014/10/28/beat-construction-cooly-g-interview

Sydney Blu

Website: https://soundcloud.com/sydneyblu

Location: Toronto, Canada

Excerpt:

“I taught myself to write music over along period of time, I took private classes, went to audio engineering school, took piano lessons, and took online courses. I consistently try to get better and I do my best.” Sydney believes one of the most challenging aspects of a producing career is uncertainty. “Being a DJ is an emotional roller coaster. A lot of women like stability. It's a lot of work and you need to put your life into it if you want to be successful at it.”

Source: http://edm.com/articles/2014/11/25/five-women-producers

PHOTO CREDIT: Roe Ethridge

Grimes

Location: Vancouver, Canada

Website: http://www.grimesmusic.com/

Excerpt:

“There is no conversation about female producers in 2016 without ecstatic mention of Claire Boucher — the singer, songwriter, producer, and multi-instrumentalist behind some of contemporary music's most exciting compositions. Boucher's 2012 breakout record Visionscollected ambient, dance, electronic, and pop influences to concoct bubblegum cyborg melodies. Nearly four years later, Boucher broke from the synth-pop sound she made so popular and gifted the world with Art Angels, an audacious and experimental album for which she learned guitar (her hero Dolly Parton's "Jolene" chords specifically), drums, ukulele, and violin to create. This excellently nerdy interview with Future Music magazine touches on all of her production preferences, from Ableton software for vocals to her data-rich files”.

Source: https://i-d.vice.com/en_us/article/qv8ymw/8-female-producers-behind-todays-most-innovative-sounds

Shura

Location: London, U.K.

Website: https://www.weareshura.com/

Interview:

“That questing tendency feeds into how the English singer creates music, including her much-anticipated debut album Nothing's Real (out July 8, via Polydor): "I just want to go on a fucking cool adventure. I want to explore my boundaries, I want to push myself and go right to the edge of what I am capable of. I don't want to ever be comfortable." Nothing's Real takes the listener on a sonic journey that ranges from highly produced, Madonna-like pop ballads to hazy, experimental tracks recorded on old-school tape decks. It's a 13-track soundscape that, when listened to in its entirety, proposes questions and sparks discussion about fear, identity, love, and loss”.

Source: http://www.elle.com/culture/music/interviews/a37713/shura-interview/

TOKiMONSTA

Location: Los Angeles, U.S.A.

Website: https://tokimonsta.com/

Interview: https://www.youtube.com/watch?v=f0pAV5Fz48E

PHOTO CREDIT: Jasmine Safaeian 

HANA

Location: Los Angeles, U.S.A.

Website: https://twitter.com/hanatruly

Interview:

“What made you decide to close that chapter of your career and start recording your songs yourself?

About two years ago, I met Mike [Blood Diamonds], and he kind of made me stop and think about everything. He was like, "So you just go out on the road, endlessly? Do you want to do this forever? Is your music where you want it to be?" And it got me thinking, Well, no. It's not. I would never sit and listen to my own music, which I think is kind of a sad point to be at. So I took a break, sold my van, and basically my goal was to learn how to produce. To get my music to the point where it feels like me, recorded. That's kind of the point where I'm at right now: I'm making music that I really, really love. It's completely my own writing, no other co-writes. And I think that's why this stuff is so special to me: because it's 100% mine. I'm singing exactly what I want to sing on top of music that I made that I'm super proud of.

How would you describe the production aesthetic you’re going for?

I'm almost trying to take away the production. My previous stuff was very, very produced. Because I have been writing songs that mean a lot to me, I want the lyrics and the melody to be what shine. And I've definitely not mastered production, but at the same time, I feel really confident in what I can do. I used to write with my guitar, which I still do sometimes. But now I'm writing more with piano and over tracks I've done in Ableton”.

Source: http://www.thefader.com/2015/07/30/hana-grimes-interview

Gina Turner

Location: New York, U.S.A.

Website: https://soundcloud.com/djginaturner

Excerpt:

“Music has always been a huge part of my life. I grew up in a time when New York had legendary places open, like Sound Factory and Shelter. I quickly fell in love with house music and began to buy vinyl and play around. However, I was always geared to be more of a radio DJ. So becoming a club DJ happened organically in college when I was studying audio production and radio broadcasting.” With several releases planned for the upcoming year, Gina stays true to her identity. “I’m still finding myself everyday”.

Source: http://edm.com/articles/2014/11/25/five-women-producers

Ronika

Website: https://www.facebook.com/ohronikagirl/

Location: Nottingham, U.K.

Interview:

“How did you get into production?

RS: I started getting interested as soon as I started listening to electronic music and hip-hop as a teenager - tunes where the production was just as important as the performers, if not more so. I'd listen to things on Warp like Squarepusher or Black Dog and wonder; how are they making that? How do you even do that with a drum machine? So, out of curiosity, I started to go to a studio in Notts to get learning. I'd already decided that it was important for me to be involved in all aspects of music making, that the beats and recordings were just as important as the songs themselves for me.

Was there a Eureka moment, where you realised you could actually do this?

RS: I'm still waiting for that! It's been a massive long journey for me and I'm still learning. With technology you're always learning because it's always changing. Making interesting music is always going to feel like a challenge. I don't think it should feel easy.

Did being female hinder your progress?

RS: When I was growing up, there really wasn't that many female producers I could be inspired by, and I didn't know why it was so male-dominated. There was a massive imbalance in my role models, and I felt that needed to change. And it has over the last few years. There's loads more of us now, which is great. But it was important to me to make sure that there was a solo female name on some of the production credits.

A lot of people in your shoes might have been happy to pass the hard work onto someone else.

RS: And I sometimes wish I'd done that, taken the easier route. There were definitely some big opportunities to work with important industry people, who wanted to take the production off my hands, that I've passed up along the way. But I didn't want to do that”

Source: http://thequietus.com/articles/15908-ronika-interview-selectadisc

Emily Reo

Website: https://www.facebook.com/emilyreomusic/

Location: Brooklyn, U.S.A.

Interview:

“AF: Now you’re branching into producing other artists’ songs, like Yohuna’s excellent “Para True”. How did that collaboration come about, and is that a role you’d like to take on more in the future?

ER: After I finished recording Olive Juice, I started using midi to create sketches for future songs. In the process, I got really interested in making beats and learned more about production. When my good friend Johanne (Yohuna) asked me last year if I would add a beat to her song “Badges” I was so excited. Next I added a beat for “Para True” as well as mixing the track, which was a first for me and a great learning experience. I definitely see us working together more in the future, it’s something we’ve talked about for a really long time and we’ve sent things back and forth to each other for a few years now without much follow through. Her songs are indescribably gorgeous and it’s so rewarding to contribute something that can take them to the next level”.

Source: http://www.audiofemme.com/interview-emily-reo-basilica-soundscape/

WondaGurl

Website: https://twitter.com/WondaGurlBeats

Location: Ontario, Canada

Interview: https://www.youtube.com/watch?v=mkfgjgBStFQ

Kito

Location: London, U.K.

Website: https://www.facebook.com/thisiskito/

Interview: 

“Q. Your music style has many diverse reaches that makes it hard to place it in one genre. How would you classify your music and do you have further intentions of experimenting even more?

Q. Leave us some inspirational words

I have all intentions to continue experimenting! I like that people find it hard to classify my music although I do wish I found it easier to describe it in interviews.. I think I’ll always be making electronic music. What I do with Reija I would almost call a pop project – it’s just influenced by a lot of underground electronic music and also R&B and hiphop.

Q. Any upcoming projects before the end of the year?

I can’t actually believe we’re talking end of the year already.. That always happens! It always creeps up on you! September is studio month and then I’m doing an Australasian tour with Reija Lee for the whole of October. Then the Mad Decent Boat Party is in November, which is going to be mental. And besides that I’ll just be in the studio, as usual!

Q. Which artists have really inspired you throughout 2014?

I’ve been really inspired by the stuff SOPHIE has been doing this year. Also Redhino’s new album sounds amazing.

Q. Which artists would you like to collaborate with in the near future?

I’d love to work with Lido, The Dream and Switch!

Q. Leave us with some inspirational words..

My words of advice to anyone out there aspiring to be a music producer or artist: go as far as you can without signing a contract with anyone. Be as free and in control of your project as you can be! And never stop raving - go get wasted in a club and remember why you wanted to do this in the first place. I need to take my own advice more often.”

Source: http://www.scorpiojin.com/kito-interview

Nina Kraviz

Location: Russia/U.S.A./Worldwide

Website: https://www.residentadvisor.net/dj/ninakraviz

Interview: https://www.youtube.com/watch?v=7gUmFJUpWvc

IN THIS PHOTO: Abra/PHOTO CREDIT: Alex Cretey-Systermans  

Abra

Location: Atlanta, U.S.A.

Website: https://www.facebook.com/darkwaveduchess/

Interview:

“Today, Abra is essentially self-sufficient: she writes and produces all of her music, though the closet in her parents’ house — where she used to record her earliest brushes with melancholic soul music — is now a thing of the past. Her new “studio” isn’t exactly more sophisticated: it’s a laundry hamper with a laptop and USB mic, located in the bedroom of her own Midtown Atlanta apartment. The rugged setup is as much a statement about accessibility as it is simply a comfort zone. “Production and recording yourself can seem like a monolith,” she says. “ [But] you don’t have to have all this crazy stuff to make cool music.”

Source: http://www.thefader.com/2016/07/27/abra-princess-awful-records-interview

NERVO

Location: London, U.K.

Website: http://nervomusic.com/

Interview:

“The Nocturnal Times: Did your upbringing influence your decision to pursue music and did you always know you wanted to work together?

NERVO: We have always had a passion for music and it was solidified at an early age when we learned to play the piano. From teenagers onwards though we started going to music festivals seeing the performers play was a great inspiration as well.  We will never forget seeing prodigy live and deciding right there that we wanted to be part of this.  Working together was a natural move for us as we have similar tastes, love to be together and are each other’s biggest supporters.

The Nocturnal Times: At what point did you realize you wanted to make the shift over from songwriters and producers to singers and producers of your own material?

NERVO: Well, we got our big break as songwriters and after our song for David Guetta and Kelly Rowland on “When Love Takes Over” won a Grammy, and we needed other challenges. Plus we had so many ideas and a lot of music on our hard drive so it just made sense to put it out ourselves, as NERVO”.

Source: http://www.thenocturnaltimes.com/the-nocturnal-times-exclusive-interview-nervo/

PHOTO CREDIT: Robbie Lawrence

Fatima Al Qadiri

Location: New York, U.S.A.

Website: http://fatimaalqadiri.com/

Interview:

“I've been consciously and unconsciously writing an internal soundtrack for that car journey ever since, attempting to capture the range of emotions I felt. Something about Gregorian chant and 8-bit video game choirs converged in me in that moment. An epiphany that the human choir is the greatest sound on earth, and all its manifestations—real, artificial, and distorted—are all equally beautiful, illuminating every edge of our past and current realities. A fragile reality that could be extinguished at any moment. In the years that followed, I’ve attempted to recreate choral music, using an array of virtual instrument choir pads or my own voice. For during that car journey out of Hell, my grandmother's spell was finally broken. My love of music was fully restored”.

Source: http://www.thefader.com/2016/03/17/fatima-al-qadiri-personal-history-brute

Magda

Location: Detroit, U.S.A.

Website: https://www.facebook.com/unmagda

Interview:

“Could you describe your creative process – how do you usually go about making a track?

It really depends on my mood. One day I might make something fast and busy and another day I might just work with one sound. Usually though, I come into the studio with a basic idea and start messing around with gear. Once I have a sequence or sound I like, I’ll jam for a while and record everything. Once I have all the parts recorded this way, I edit them down to make a track. I also like using found sounds and run them through various effects. This adds a certain richness that I like”.

Source: https://aiaiai.dk/blog/interview-magda

FEATURE: Harmonies in the Left Ear: Poor Songs from Wonderful Albums

FEATURE:

 

Harmonies in the Left Ear: 

PHOTO CREDIT: Unsplash

Poor Songs from Wonderful Albums

________

IT is inevitable you’ll find an album…

IN THIS PHOTO: Blur/PHOTO CREDIT: Zanna

you adore and think every track could not be as good as the last – and, then, the horrid sensation when a rogue and ill-fitting song arrives in your earbuds. There are few albums that are flawless but there are those classic albums that are let down by a solitary number. Whether it is something in the lyrics – or it is repetitive and does not add to the aesthetic of the record – one feels obliged to skip and demarcate it from the (brilliant) herd. Fitting and timely of nothing: I have been thinking about those wonderful albums that, for some reason, have that small crack in them.

PHOTO CREDIT: Unsplash

It is fascinating examining and theorising what drives an artist to have that momentary weakness - let the quality slip for a bit and allow a poor song get into the mix. I have encountered very few albums, as I say, where all the tracks stick in the brain - but I am talking about those big and historic records - the kind that gets critics drooling and have inspired legions of musicians.

Here, for your delectation, is a select of less-than-incredible songs on rather-bloody-stunning albums…

_________

The Beatles: Run for Your Life – Rubber Soul (1965)

John Lennon claimed this was the worst song he ever wrote – or at least, up until that point. It is the finale from the otherwise-majestic Rubber Soul. Run for Your Life is not the worst thing The Beatles ever wrote but, considering the sexist, aggressive and offensive nature of the lyrics – this one could have remained on the studio floor, no?!

Pixies: La La Love You – Doolittle (1989)

It was rare for Pixies, in those days, to make such an error of judgement. Their early albums were paens to quality and consistency. It is a surprising that their most-famous album, Doolittle, contains such an obvious filler. La La Love You Featuring drummer Dave Lovering on vocals; it is an atonal, messy misfire that adds an acidic tang to an album that many see as one of the all-time best.

Led Zeppelin: Boogie with Stu – Physical Graffiti (1975)

We all know the place Physical Graffiti holds in the Rock cannon. It is a sprawling, masterful work from one of the greatest bands to stomp the planet. Physical Graffiti boasts sweat-dripping workouts like Custard Pie; epics such as Kashmir and euphemism laden cuts like Trampled Underfoot. Any double-album is going to have a weak track but in the case of Physical Graffiti, there is the one: the lumpen, forgettable and plain-ordinary, Boogie with Stu. One feels it could have been left off the album - it is the sole negative on an album of immense (and timeless) positives.

Kate Bush: Mother Stands for Comfort – Hounds of Love (1985)

Strange sound effects, wistfulness and experimentation are what we expect (and love) from Kate Bush. Hounds of Love, arguably her finest album, contains monster hits like Hounds of Love, Cloudbusting and Running Up That Hill (A Deal with God). The second side, despite being less popular than the first half, is a flawless conceptual suite that deals with a woman caught at sea – dreaming of rescue against mounting odds. On its first side, there is a notable weakness: Mother Stands for Comfort tries to win the heart but leaves one feeling a little underfed and unsatisfied.

The Beach Boys: Caroline, No – Pet Sounds (1966)

There is no doubting the chops of The Beach Boys’ masterful, Pet Sounds. It is a gorgeous and decade-defining record from an immaculate band. Among the embarrassment of riches is a rather disappointing swan-song in Caroline, No. Brian Wilson compared the song to the work of Glenn Miller – and his song, Hey Girl. There are various stories that explain the origins of the song but, whatever way you look at it; this does not remain in the memory. Alongside genius tracks like God Only Knows, Wouldn’t It Be Nice and Don’t Talk (Put Your Head on My Shoulders) it is a bit of a let-down – and not a fitting way to end one of the finest albums the music world has seen.

The Velvet Underground: The Black Angel’s Death Song – The Velvet Underground & Nico (1967)

I am one of those people who feel The Velvet Underground & Nico is an overrated album – not fitting of the immense praise and God-like acclaim people afford it. I, in my mired state, can appreciate the quality of the songwriting and why people relate to the record. I confess, there are some phenomenal songs but, let’s be honest, The Black Angel’s Death Song is not one of them! Lou Reed claimed the idea (of the song) was to string words together with no particular meaning – the fun of their sound rather than the purpose of their meaning.

Fugees: Mista Mista – The Score (1996)

There is no denying L-Boogie, Pras Michell and Wycleff Jean can produce a damn fine tune when they want. The Score is one of the classic Rap albums and contains Ready or Not, Killing Me Softly and Fu-Gee-La – No Woman, No Cry and Family Business in there for good measure! Mista Mista appeared as a bonus track on The Score and, to be fair, I am not sure why it is a ‘bonus’. Wyclef Jean whips the acoustic guitar out; repeats the same lyrics again and again and soundtracks a song that shouldn’t have made it onto an immaculate record!

The White Stripes: The Air Near My Fingers – Elephant (2001)

Detroit’s The White Stripes transformed the Garage scene in the late-1990s and 2000s. One of the most important artists of the past two decades: their unique brand of Rock/Blues/Garage has found few adequate comparisons since their split. Elephant is, quite rightly, considered one of the best albums of the '00s. There is, on the album, guitar exorcisms; tight and pointed songs and air-punching anthems (Seven Nation Army the definitive cut). Among all the fascinating and spectacular songcraft is a track which, even Jack White felt lacked killer-bite and necessity. The Air Near My Fingers is promising in parts but, on an album such as Elephant, sound weak and anemic.

Blur: Lot 105 – Parklife (1994)

During the white-hot heat of Britpop; the main pugilists, Blur and Oasis, were tussling for chart superiority. 1994 was the year both bands produced equal albums – Oasis released their debut, Definitely Maybe. It is just as well Parklife contained so many great tracks because, for some reason, Lot 105 was included on the record! It is a weird instrumental – Phil Daniels was meant to provide a vocal, I think? – and has no place on any album. If they HAD to include it, then put it near Bank Holiday. It is a mid-L.P. filler that left many scratching their head. What’s worst is Lot 105 followed the majestic, This Is a Low – a song that should have ended the album on a high.

The Smiths: Never Had No One Ever – The Queen Is Dead (1986)

Two things annoy me about The Smith’s Never Had No One Ever. The first is, when it was written; Morrissey was in his 20s.The song looks at a lack of sex and, literally, counting the days and years since he has been a virgin. One feels the balance has been redressed – he has had sex a few times, in any case – but there are some (naming no names!) who had to wait a lot longer before they got laid. The other downside of the song is the fact it is not very good. It is weary and tired; has very little point and could have easily been left off the album. It is the only blot on The Queen Is Dead and proof not everything Morrissey and Marr touched at that time was gold.

Green Day: Extraordinary Girl – American Idiot (2004)

Green Day’s American Idiot is one of the finest political albums of the modern age and perfectly articulates the annoyance and rebellion felt by large sectors of the U.S. public. It is an album that sounds perfectly appropriate for today – even more relevant, in fact – and possesses some extraordinary songs. The title track is a blistering and memorable anthem that sticks in the head for all the right reasons. Extraordinary Girl is a weary Beatles-esque song that never gets out of second-gear (its second-half - it is two songs welded, essential - Letterbomb, is a bit more like it). Its lyrics are pale and cliché; the music lacks any melody or bite – awkwardly stumbling around without making any impact on the listener.

Eminem: Ken Kaniff (Skit) – The Marshall Mathers LP (2000)

Forget all the debates and controversies surrounding Eminem’s immense album, The Marshall Mathers LP. It is an album that has divided opinion but, in my view, is a tremendous record from one of the most accomplished lyricists and performers of this generation. The Marshall Mathers LP is a near-perfect album that fully thrust Eminem onto the map. One of the reasons it is not (totally) perfect is the truly hideous Ken Kaniff. An uncomfortable, oral-sex reference ‘skit’ that, on an album that managed to make its interstitial pieces on-point and appealing, raised eyebrows and stomach contents. A noxious effort.

PHOTO CREDIT: Unsplash

Radiohead: Treefingers – Kid A (2000)

Kid A is one of my favourite albums – and one of the best of the '00s – and completes a remarkable one-two-three after The Bends (1995) and OK Computer (1997). One can marvel in the Electronic pioneering and groundbreaking material throughout Kid A. Four phenomenal tracks kick Kid A off. Everything in Its Right Place and Kid A are wondrous: The National Anthem and How to Disappear Completely even finer. The steam and momentum is taken out of the sails when Treefingers arrives. Optimistic arrives to restore order but there is something lamentable and sterile about Treefingers. It is the only weakness of Kid A and is a shame – the band could have jettisoned the song, one feels.

Nirvana: On a Plain - Nevermind (1991)

If one were bold enough to claim a song from Nevermind deserved execution – they would probably find themselves tied to a lamppost and all their body hair removed! Such is its place in history it seems sacrilegious highlighting any tracks for judgement. Nevermind is another of those records that is perfect...except for the one song. On a Plain trundles and, whilst Cobain’s lyrics are impressive and sharp, the composition is neither swaggering enough to bring the song to life - nor textured so it remains in the memory. It is as close as the album comes to ‘bad’ and is a song I always skip. Not one for the Nirvana ‘best of’ collections...

Michael Jackson: The Lady in My Life – Thriller (1982)

Thriller has, quite rightly, gone down in music history and is one of those albums ever serious music-lover should own! Whether it is on a par with Off the Wall is for debate but The Lady in My Life gives an advantage to Off the Wall. The taut and frenetic intensity of Beat It; the legendary status of Billie Jean; that remarkable opening number and that stonking title-track. The Rod Temperton-written finale is, without being unkind, not befitting of an artist of Michael Jackson’s status. It is a sleepy, formulaic and contains none of the hooks, qualities and nuances that make Thriller such an achievement. I can see why it was left until the end of the album but one feels Quincy Jones, when producing the album, could have forgotten to hit the ‘Record’ button.

The Jimi Hendrix Experience: EXP – Axis: Bold as Love (1967)

One of the best albums of 1967 – which, in turn, is one of the best years for music – should not contain something as forgettable and ill-advised as EXP. It a shot at ‘comedy’ that mocks-up an interview about flying saucers with accelerated vocals and stereo panning – perhaps Hendrix should have concentrated on the guitar rather than sub-standard humour. Mining the kind of zaniness/effects Benny Hill fans would find amusing – not a song that had any business appearing on such a fine and inspiring album as Axis: Bold as Love!

Björk: Headphones – Post (1995)

I am one of the biggest Björk but feel a song like Headphones does not represent her best side. Post, following the incredible Debut, put her new music to new audiences and proved what a unique and sensational talent she was. Army of Me and It’s Oh So Quiet are classics from the Icelandic innovator: Isobel and Hyperballad are two of her most arresting songs. Headphones is the final track and, rather than ending Post with a bang - sort of fades and dissipates without really saying much. There is much intrigue but not a lot of impact. It is as close to a ‘bad’ song as Björk has on the album - and one of her weaker songs from her early period.

The Libertines: Don’t Be Shy – The Libertines (2004)

Amidst the chaos, in-studio brawls and drug abuse, surprisingly, came an amazing album. Not as refined, epic and economic as the band’s debut, Up the Bracket – The Libertines contains a stinker in Don’t Be Shy. Pete Doherty is on lead vocals on what sounds like a post-pub effort. It is caterwauling and has no real purpose and profit. It is an aimless and drawling song that contaminates the remainder of the album.  The tensions and rifts make the band’s eponymous album such an exciting and unpredictable creation. Most of the songs and experiments hit the heart (and mark) but not Don’t Be Shy. How the hell it made it onto The Libertines is beyond me!

Neil Young: There's a World – Harvest (1972)

For such a prolific artist; it is understandable there will be one or two minor songs in the cannon. Harvest, however, is an album that defined Neil Young in the 1970s and was his high-point. Albums with such a legendary status should be free from filler. There’s a World does not stack up against gems like Heart of Gold, Old Man and The Needle and the Damage Done. Featuring the London Symphony Orchestra; there is something jarring and unusual about There’s a World. The Orchestral added a certain something to A Man Needs a Maid but royally soiled There’s a World. Timpani, harp and over-emotive strings do not really elevate any song: they make Harvest's seventh track cloying and saccharine.

The Stone Roses: Don’t Stop - The Stone Roses (1989)

The Manchester band released two albums: one of them legendary; the other a bit crap. Their debut is the one we all remember. The psychotropic experimentation and confidence; the head-spinning, mind-altering music that bonded a generation. Waterfall, early on the album, is one of those huge numbers that everyone holds dear to their heart. The band loved it so much they thought they’d rewrite in the form of Don’t’ Stop. The fact it appears right after Waterfall makes it a rather clunky and ill-judged track. It is similar to Waterfall but a bit bigger and, well…backwards. Maybe it is their attempt at a Tomorrow Never Knows-style head-f*ck. It is, when you strip it down, a rather lazy and wasteful track that brings an odd disrepute and poverty to an otherwise epochal record.

FEATURE: Vinyl Corner: Joni Mitchell - Blue

FEATURE:

 

Vinyl Corner:

 Joni Mitchell - Blue

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SOME records demand a feature of their own and…

a complete unpicking. I feel fewer of us are committing to vinyl in a romantic and impassioned way – prefer to hang them on the wall or keep them in the home (in case they increase in value or are needed down the line). The more prolific and intensifying digital music becomes: the contrary part of me reverts to a childhood state where vinyl was played irony-free and to the pleasure of all within earshot. This piece provides some words from others but I was keen to have my say on a record, I feel, sound peerless on vinyl. To me, the experience of listening to vinyl, is shutting other people away. That might sound antisocial but there are some albums one needs to experience alone. Joni Mitchell’s Blue is one of those records not really fitting for a social gathering. Of course, one wants to pass the songs through the ages but radio is made for that – Blue, on vinyl, is one of those experiences every human should go through. I share similar sentiments when addressing Paul Simon’s Graceland. To me, Mitchell is one of those artists that divide opinion. Her songwriting is beyond comparison – one of the finest from all of music. Like Bob Dylan; the voice is the aspect of Joni Mitchell that can cause some to wince. It took me a while to bond with her voice: such is its unique edge and bracing nature; it was a gradual process of ‘acceptance’. When she sings with beauty and tenderness: it is bird-like and sands away all the rough edges. It is the personality and physicality Joni Mitchell puts into each performance that reaches deep inside me. She is a songwriter that still inspires new artists and someone whose legacy cannot be tarnished. I wonder whether she will record more material: there is a demand for the kind of music/sound only she can provide.

IN THIS PHOTO: Joni Mitchell looking from te window of her Laurel Canyon home in October, 1970. PHOTO CREDIT: Henry Diltz/Henry 

There is a debate as to which Joni Mitchell record is her definitive moment. To me, actually, I switch between Court and Spark and Clouds. The latter is Mitchell’s second album and, although it contains Both Sides, Now and Chelsea Morning – it has not been received as rapturously as Blue. The same can be said for Court and Spark and, whilst it has Free Man in Paris and Help Me on it – it is shaded by the majesty of Blue. Court and Spark arrived three years after Blue (in 1974) and marks the end of her ‘Purple Period’. I name it as such because if one mixed ‘Blue’ with the red imagery of For the Roses – the album that arrived 1972 – you would get a purple-looking result. This is best defined in Court and Spark which pulls the best elements of Blue and For the Roses together. Those albums, in fairness, arrived in the middle of Mitchell’s finest phase. From Clouds (1969) to 1976’s Hejira – Mitchell produced album-after-album of peerless songwriting and priceless gems. I digress, but wanted to show what a body of work Mitchell has and why more people should listen to her. Blue is that critical favourite and the one many people bond with closest. Maybe it is the emotion and vulnerability; the incredible vocal range and the spine-tingling, vivid stories. If you have a chance to buy Blue on vinyl; I urge you to do so. It is a record one can listen to, lying on their back with the lights dimmed (candle, perhaps, burning with orange-scent against the flicker of a summer-framed curtain; stars blushing coquettishly in the nakedness of the night’s sky) and drift away. The mere formality of setting the scene conveys poetry (or my attempt at it) and heady wordplay. That is the effect Blue has on the unsuspecting and initiated alike: it is a masterpiece whose immaculate arrangements are best enjoyed through vinyl.

I said I’d bring other interpretations into the mix and, before discussing some of the themes and background behind the record, wanted to source an article I discovered recently. Four years ago, writing for The Atlantic, Jack Hamilton argued why Blue is the best ‘relationship album’ ever:

“For better or worse, we live in a culture where lifelong, monogamous commitments are widely held to be the desired ends of romantic life: Romantic comedies end in weddings, and Hallmark doesn't make Valentine's Day cards for open relationships. For those who buy into this norm, the downside is that in our best-case scenario—our best-case scenario—every single relationship we ever have, except for one, will end and end badly. Otherwise, as they say, they wouldn't end… Blue is a confessional that implicates us in its crimes, and in doing so ever so slightly absolves us of our own. And if at times it holds a brutal mirror to our collective inadequacy, it's not without its fairy tales. Immediately after "River," as if from some other world, comes the album's most unabashedly joyous song, "A Case of You." It's one of Mitchell's most beloved compositions, covered by artists ranging from Diana Krall to Prince. There's a moment at the top of its second verse, the one that begins "I'm a lonely painter / I live in a box of paints," when the entire track seems to suddenly swell and almost burst, a beautiful shock of intensity that recedes almost as soon as it appears. And in that one heart-racing, vanishing instant everything makes sense, because if we can only find our way back to that, that moment, that feeling—to find that would mean to be happy forever.”

I have condensed and created a portmanteau because – read the full piece to get a less impressionistic truth – it has a resounding heartbeat: Mitchell’s 1971 magnum opus comes from her soul but can be extrapolated by everyone.

I shall come to the ins, outs and technicalities of the album – before offering conclusion and summary – but one need understand the fragile state Mitchell was in recording Blue. She has experienced painful breakups with Graham Nash – whom she was deeply in love with – and James Taylor. Both exceptional songwriters but each relationship was very different. In the case of Taylor; Mitchell was with him for a short time – when the songwriter was in the throes of heroin addiction – but it has intensity. The confusing and heartbreaking contrasts of each relationship had a profound effect on the young musician. She was able to articulate a sense of beauty, acceptance and retrospect in Blue’s finest moments. Three of her finest songs - A Case of You, River and The Last Time I Saw Richard - have desperate sadness and that need for escape. She was living in the public eye and her creative existence was a transposed and skewed mirror against the polemic fracture of her personal life. To journalists and music-lovers; she was an icon and was being elevated to goddess-like realms. Walking a tightrope in private: she was frail, fragile and near the point of constant teariness. Mitchell’s success, following Blue, meant fellow West Coast-based confessional songwriters like Carole King and James Taylor provided something incredible to music in the 1970s. In a career-spanning piece regarding Joni Mitchell’s music; Sean O’Hagan, writing in The Observer, offered some of his keen observations about Blue:

“Blue, though, also signalled in more subtle ways the more dramatic musical shift that was to follow. Listen to the way she enunciates the very first notes of the title song, settling on the word “blue”, stretching and bending it across an octave or two in the manner of a seasoned jazz singer. Then there’s the joyous lilt and sway of Carey, one of several songs of wanderlust that, across the years, testify to a relentlessly restless spirit. The term folk singer no longer contained her, nor increasingly did singer-songwriter which, by then, was becoming synonymous with a certain kind of plaintive Californian narcissism”.

Following the success of her first three albums – and songs like Woodstock – and a painful breakup with her long-term boyfriend, Nash; Mitchell embarked on a trip around Europe. Holidaying on the island of Formentera; she began to write songs that would appear on Blue. The ghosts and scars of her twin breakups were incorporated onto the album but it is the tracks Blue and All I Want that refer to James Taylor and the intoxicating bond they share. In fact, Mitchell was in a happy frame during the initial stages of the album’s creation. There were difficulties between her and Taylor – exasperated by the third person in the relationship: heroine – but she felt Taylor was the man that would anchor and stabilise her. When Taylor’s fame exploded – albums like Sweet Baby James (1970) catapulted him into the limelight – that caused friction in the relationship. The album is viewed as one of music’s finest so it was not a surprise to see Taylor, following the success of the record, become a lot busier and changed. The inevitable break-up devastated Mitchell who foresaw a happy and secure life with Taylor. Mitchell explained, in interviews years after Blue was released, there was not a dishonest note on that record. She compared herself to cellophane wrapper on a pack of cigarettes. That is an image perfectly fitting and one that could only be expressed by Mitchell. She was a protective layer around a noxious box: an outer-layer exposed to destruction and discarded ignorance. She was a without secrets and, such was the enormously open and devastating nature of Blue, it led some to wonder how much she was keeping for herself. One of the reasons I adore the album because it has that classic, tight and economic layout. It is a ten-track record with short titles. Songs, predominantly are three/four-minutes-long and, quality-wise, there is even distrubution. The longest-titled song ends the record (The Last Time I Saw Richard) and the title-track appears at the half-way mark. River; inarguably sad and touching, is the antepenultimate track and there is a real and intuitive knowledge of where each track needed to be.

PHOTO CREDIT: Henry Diltz/Henry 

If the songs were rearranged (order-wise) and the record would be weaker. There are five tracks on each side and one would be hard-pressed to say which side is stronger. Each song on Blue has its own story and heritage. Mitchell wrote Little Green in 1967 and it relates to her daughter – who she placed for adoption in 1965 where she was a poor Folk singer in Toronto. Mitchell was in no fit state to raise a child at this time. She was dirt-poor and struggling. Mitchell was reunited with her daughter in 1997 but Little Green is a heartbreaking and refreshing number about a hard time in the songwriter’s life. Carey was inspired by the time she spent with a group of cave-dwelling hippies on Crete. Many feel the song is about James Taylor but Mitchell revealed it was, actually, about a character called Cary Raditz – a cane-wielding chef with vivid red hair she met in Malta (when travelling Europe in 1970). The title-track has that immortal stand-out: "Acid, booze and ass/needles guns and grass/lots of laughs". Maybe it is about a romantic partner or a certain time. In any case; it is an intoxicating and incredible song. California, the second single after Carey, features James Taylor on guitar and was written when Mitchell was living in France. She was longing for the creative climate of California and, so distant from home, would go to extreme lengths to be reunited with home – even kissing a policeman which, to a counterculture icon, is an act of betrayal and ambiguity. The song is Joni-back-in-control-and-looking-ahead; it is her groove and determination – a dream to be in the bed of California and entwined in its muscular legs, warm arms and hair-stroking tenderness. The stream-of-consciousness lyrics, similar in nature to Carey, depart from a statelier and structure-led song like Blue. The tango-flow and verse-bridge structure excited critics. The artist, wherever she would travel, always yearned for the familiarity and comfort of home. This Flight Tonight, a simple regret about jumping a plane and leaving behind a lover is still, despite its obvious story, full of deep-woven tapestries and delicate stitching.

PHOTO CREDIT: Henry Diltz/Corbis

I will not examine River forensically as, I believe, one needs to hear the song and simply hear it. In any case; it is Mitchell’s most-recorded song and an incredible portrait. One of those songs that elevated her above her peers and showed why there was/is nobody like Joni Mitchell. A Case of You, many have theorised, is about her time with Graham Nash. The ingénue Canadian artist and the British musician Graham Nash seem like an unlikely match but, it seemed, shared more in common than most married couples do. A lot of the lines hint at origin and truth:

“Oh you are in my blood like holy wine/You taste so bitter/and so sweet, oh/I could drink a case of you darling and I would/Still be on my feet/Oh, I would still be on my feet”.

The Last Time I Saw Richard, could I guess, could be about her brief marriage to Chuck Mitchell. One of the advantages of the ‘Internet age’ is one can learn about these songs and become more involved with the music. It is great interpreting and having your own ideas but, knowing where these fantastic pieces of music originated, provides a much deeper and more educated aspect. I listen to Blue and am hit by the emotion, exceptional vocals and stunning compositions of each. The sheer sophistication and beauty of her music – especially on Blue - set Mitchell aside from her peers. She is, forty-six years after Blue’s release, one of the finest writers in music and constantly compels and inspires young songwriters emerging. I know so many and, before leaving this piece, wanted to distil what Blue means to me – and why it is an essential vinyl purchase everyone should have. One can, in all good record shops, finds Blue and get it for a reasonable price. The optimum listening environment is, as I said, alone in a room with eyes half-closed – the way one would do when bathed in the hazy sunshine of a summer afternoon. It does not matter if it’s after-dark or enveloped in the bright light of the day.

There are, perhaps, better albums than Blue but there are few that provoke the same fascination and addiction. It is fitting, given its indirect links to heroin, there is that un-putdown-able nature of the record. One cannot help but repeat songs and become entranced. It is an album that stems from a personal time and place (and space) and, as other journalists have remarked, is a universal offering. We can all, in our own way, identify with many of the lines and expressions Mitchell voices. If one cannot directly relate to the songs of heartbreak and bitterness: we can all appreciate the music and the divine beauty of Joni Mitchell. Her voice, as I said, is one reason many do listen to her music but it is her greatest tool. She elongates syllables and gives each line her utmost consideration. Her voice is not an oil painting or boring creation: it is an impressionist, Dada-esque; stunning work of Romanticism that treats words as cherished possessions. At a time when so many singers waste words and have no ear for expressionism – musicians like Joni Mitchell show what happens when treating language and personal poetry with the respect it deserves. There were albums that had the same ambition and quality as Blue in the 1970s: today, there are far fewer records that have the same gravitas, colour and history as Joni Mitchell’s masterpiece. It is a record that defines an era but has a timelessness that is seeing its progeny (the artists it inspires) go out into the world and learn from it. Make sure you get yourself to a record shop; remove its sleeve – with all the allure, excitement and tease it warrants – and drop the needle. From there, as the first track crackles from the speakers; you will hear those first few words: “I am on a lonely road…”. Listening to those words, and the album, and one is on a road. It is not lonely: it is packed with adventure, vistas and wondrous possibilities. A timeless and near-peerless record…

EVERYONE should treasure.

FEATURE: Crowd Surfing: The Best Performances from Reading and Leeds Festival

FEATURE:

 

Crowd Surfing: 

 The Best Performances from Reading and Leeds Festival

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IT is fitting marking the best sets from the iconic…

IN THIS PHOTO: Queens of the Stone Age at this year's Leeds Festival/PHOTO CREDIT: NME/Andy Ford

Reading and Leeds Festival as, over the years, there have been so real corkers. I say it is fitting because, twenty-five years ago; there was that now-legendary 1992 rundown. Nirvana’s infamous and epoch-defining antics were part of a heady and definitive year that saw some of the world’s biggest acts jostling for attention. This year, perhaps, there are fewer corkers but we have seen Queens of the Stone Age slip into Leeds – one suspects, they are at Reading right now!

The totality of Reading and Leeds’ stellar reputation cannot be boiled and defined in a few performances – but there have been tongue-wagging sets that have scorched the memory and been hard to top. I am basing this run-down on my own recollections – and sharing consensus with other journalists – and present the best and brashest sets from Reading and Leeds’ illustrative history…

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Nirvana (1992)

In a year where Nick Cave, Manic Street Preachers and PJ Harvey were on the bill – not to mention Public Enemy, for that matter – there wasn’t a set that could rival this career-defining Nirvana performance! Entering the stage on a wheelchair - sporting a blonde wig and hospital overalls - Kurt Cobain silenced rumours of a no-show with an epic set that included a particularly fired and intoxicating rendition of Smells Like Teen Spirit.

Suede (1997)

It was at a time when Britpop was starting to wind-down and a new phase ushered in – one where American guitar music was taking more of a hold. Bands like Blur would continue and change their sound but the balloons and party poppers of Britpop were waiting to be swept up. The endless energy and defiant set from Britpop mainstays Suede kept the spirit alive and reminded people why Brett Anderson and company were/are among the finest live bands ever. It can only be a matter of time before the band is invited to perform a career-spanning set at Reading and Leeds?!

The Libertines (2010)

Like Arctic Monkeys; here is a band used to the topography and portaloo queues at Britain’s premier Rock festival. We all know how The Libertines ended and why this performance – reunited after a six-year hiatus – was an emotional affair. The capricious and unpredictable Pete Doherty could have derailed the show but, focused and understanding the importance of the occasion, rose and shone. It led to an official reformation in 2014 – a triumphant show that was more than a pay-cheque for the boys. It was a chance to reclaim the sort of fascination and attention that afforded the band when they first burst onto the scene.

Queens of the Stone Age (2005)

Josh Homme and crew have played Leeds Festival already – sneaking in to perform a rapturous eight-song set yesterday. Homme, delighted to be there, warmed the audience up with a singalong to Afternoon Delight – the band entered the stage to the stage of Dean Martin; whipped through some Villains material and peppered some classics into the mix – to the delight of the huddled and delirious attendees. It was that kind of raw energy, personality and fun that made their 2005 set such a delight. The band played the Main Stage at Reading and, following the release of the album, Lullabies to Paralyze, it was a set that included Go with the Flow, No One Knows; Little Sister, Burn the Witch – thirteen nuggets that left the crowds very happy that night!

PHOTO CREDIT: Andy Willsher/NME

Arctic Monkeys (2005)

Not long after Sheffield’s Arctic Monkeys were the band on everyone’s lips – they were afforded the opportunity to thrill the crowds at the new bands tent with a set-list that included A Certain Romance, Mardy Bum and their biggest-ever hit, I Bet You Look Good on the Dancefloor. The band went on to make several appearances at Reading and Leeds but there was something about the smaller setting and the impending fame – that stand-out song not really synonymous at that point – that made their performance one of the festival’S finest.

IN THIS PHOTO: The band in 2000

Rage Against The Machine (2000)

This is one of two inclusions for the legendary American Metal/Alternative guerrillas. Arriving six weeks before their initial split; it was a set charged with emotion, tension and imminent shift. The fact the weather was less-than-reliable meant the mud-soaked surroundings added an extra layer of grit, intensity and evocativeness to a charged and electric performance. Guerrilla Radio – one of the finest renditions the band had ever performed – was a highlight that washed away the rain with ease. Surely, one of the finest live sets from the band’s later-period!

Frank Turner (2011)

It took a little while for Frank Turner to rise to the big stage at the festival but Turner, having made his way around every other, was ready and primed to deliver. Joined by his Sleeping Souls: his set was greeted with warm and smiling sunshine; reflected by a crowd that was left in awe of a musician at the height of his powers. Playing the highlights from Turner’s third album, England Keep My Bones, it is one of the most memorable performances in Turner’s career (to date) and a moment he was born to fulfil – someone who had dreamed of ascending to the biggest stage and not disappointing when he did!

Radiohead (2009)

Again; another band that are festival regulars and have had their fair share of career standouts – including that generation-defining turn at Glastonbury in 1997. Forward the clock twelve years and, a couple of years from In Rainbows; the band had a lot more material at their disposal (than the 1997 turn). They are not regulars at Reading and Leeds and one wonders whether they are due a return to the festival. In 2009; they, rather surprisingly, started with Creep, before producing a minimal, tight set that blew the crowds away and showed the adaptability and variation the Oxford icons could produce through the years. I do not think they have reproduced the configuration they did back then - a unique set that helped make 2009 one of the best in Reading and Leeds’ recent history.

Oasis (2000)

There is not much to say about this aside from the fact it was one of the final great performances from the Manchester band. Standing on the Shoulders of Giants was released earlier in the year and, whilst not one of their best albums, there was more demand for their classic material. The band responded with a bombastic and exceptional set that contained the same majesty and command as their early best. Despite the fact their best days were behind them: the band showed they were a consummate and evergreen live band who were capable of bringing the magic year-in-year-out. The band would release three more albums up until 2008 but this was one of their final truly great performances. Many could see the tide was turning but Oasis’ 2000-turn stands as a key moment in their esteemed and vivid history.

PJ Harvey (2001)

This set, like so many of PJ Harvey’s, was defined with a lusty and almost-masculine set of Blues/Goth songs – a set that mixed the instantly enthralling and quirky. Clad in a rather ‘memorable’ outfit – you’ll have to dig through photos of her turn – it was a set as memorable by its visuals (as the sonics). All said and done; PJ Harvey showed why she is one of music’s true originals. Nobody was complaining and, even more than that, many were buzzing and talking about her set for weeks to come. She has, perhaps, turned out better sets but Reading had not seen anything as brilliant and baffling from PJ Harvey. 2001 was not the finest years for music – or society, as a whole – but the rare magic only PJ Harvey could provide turned a, potentially average day, into something spectacular.

IN THIS PHOTO: Zach de la Roch

Rage Against the Machine (2008)

The reason for including Rage Against the Machine for a second time was to show, eight years from that epic decade-starting set, the U.S. band returned and kicked the sh*t out of the stage! Arriving in Guantanamo Bay-style boiler suits: the boys provided a staggering set filled with energy, explosion and nuance. Zach de la Rocha, in a particularly confrontational mood, spoke out against the atrocities and injustices around the world – using the stage as a pulpit on which to preach and educate. This verbal diatribe was matched by Tom Morrelo who, stealing the show, produced some of his finest guitar fireworks and workouts to date. A truly tight, impactful and blissful set from a band, whilst past their recording best, showed they had lost none of their live chops.

Arcade Fire (2010)

The Suburbs – the Canadian band’s third album – can be considered one of the final truly great albums. They were not afforded a big crowd in 2010 but, following the freshness of the album (I think it had only been out a few weeks) it was not a big surprise. The technically-perfect and monumental set warranted a big audience but that did not matter: the band put jaws to the floor and showed why they were a critical favourite. This year’s Everything Now is a bit of a downturn from the once-immense band so one wonders whether they will get a chance to return to Reading/Leeds.

Biffy Clyro (2007)

Here’s a band due a return to Reading and Leeds but, back in 2007, they kicked up a hell-storm of biblical proportions. Puzzle was the album they release that year and, armed with a back catalogue of three other albums; it was ample ammunition to fire at the expectant and adoring gig-goers. A rare outing of Folding Stars – usually reserved for special occasions – was a highlight from an unusually intimate set. They were performing at the Radio 1/NME Tent and, following the success of Puzzle, would not play anywhere that intimate again. Maybe that was what made their set so memorable: it was a smaller space and meant all those epic strings and rapturous vocals had no place to go – except the lungs and minds of those lucky enough to capture the Scottish band

IN THIS PHOTO: Foo Fighters in 2005

Foo Fighters (2005)

A band who seem comfortable and confident playing headline sets: a 2002 appearance, to many, is the defining moment of their festival-attending lives. Opening with In Your Honour; they launched into All My Life, Times Like These; My Hero and Best of You – a hits-packed set that wowed the Main Stage at Reading and was the perfect follow-up to their acclaimed album, In Your Honour. At a time when the band was going from strength-to-strength; they could have provided a rather run-of-the-mill set. As it was; the guys upped their games and got the people moshing, jumping and singing. The definition of a perfect Reading set – few bands have managed to rival Foo Fighters’ 2005 spectacular.

PHOTO CREDIT: Andy Willsher/NME

Muse (2006)

A year after Foo Fighters tore the roof off Reading: one of music’s most dependable and planet-straddling live acts had a go. The words ‘Muse’ and ‘bad gig’ do not really go hand-in-hand. Matt Bellamy refused to believe they had ‘made it’ until headlining Reading. In 2006, following the release of the sensational Black Holes and Revelations, it was the perfect moment to shine. Huge songs on that album – Supermassive Black Hole and Knights of Cydonia – were fresh in the mind and, with three other albums before that, there were enough epics to get the crowds pumped. Perhaps that is why Muse finally made it in 2006 – an album like Black Holes and Revelations was the final part of the jigsaw that would guarantee a headline-worthy gig.

PHOTO CREDIT: Andy Willsher/NME

The boys, eleven years after that set, are preparing themselves as we speak. They have rocked Leeds and played a hits-packed set yesterday. The start of their set brought songs from Drones, their current album, together with songs that span their entire career. They provided an encore of Uprising and Knights of Cydonia and Bellamy, in eccentric clothes/shades and at his shredding best ensured everyone went home beaming – bodies aching and ears ringing. The guys will play Reading’s Main Stage tomorrow and are likely to provide a similar set to that of Leeds – it will be a wonderful thing to see. 2006 was a pivotal year for Muse and, faced with the daunting expectation of the Main Stage...did not disappoint.

FEATURE: Lady Gaga: Taller than Most

FEATURE:

 

Lady Gaga:

  Taller than Most

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OVER the past few days…

PHOTO CREDIT: Kevin Mazur/Getty Images for Live Nation

Lady Gaga has been teasing clips from her forthcoming documentary Gaga: Five Feet Two. The Pop megastar reveals, in clips and in the documentary, is seen as larger-than-life but, in reality, is very human. I wanted to look at why the documentary is so important and how Lady Gaga, in her revelations and bravery, is going to inspire so many other people out there. Before that, thanks to Billboard for summarising; a look at what one can expect:

“Lady Gaga is hitting a screen near you come September with an original Netflix documentary calledGaga: Five Foot Two, the pop star announced in a series of teasers on social media today (Aug. 24).

“I’m known for being larger than life, but really I’m just… #GagaFiveFootTwo,” Gaga tweeted, posting several raw, intimate trailers that offer a rare glimpse into the off-stage life of the "Million Reasons" star.

The first visual features a tearful voiceover of the singer confessing her loneliness: "I'm alone, Brandon, every night. And all these people will leave, right?" Gaga says. "And I go from everyone touching me all day, and talking at me all day, to total silence." Then, in the captivating second video, we watch the singer ascend on stage wires for her Super Bowl performance earlier this year”.

There is a lot to suggest things in Lady Gaga’s world might not be all that bad. Billboard have looked at her recent tour – in support of the album, Joanne – and the success it has brought her. The article addresses how lucrative the American singer is right now:

“The first box office counts of Lady Gaga’s Joanne World Tour have been reported to Billboard Boxscore, with $8.7 million earned from the trek’s first five shows. (See Hot Tours ranking, below.)

The Joanne World Tour kicked off on Aug. 1 at Vancouver’s Rogers Arena and is slated to play 59 shows through Dec. 18. (The tour has 53 arena shows and six stadium shows on its schedule.)

With sellout crowds in attendance at the first four venues on the 20-week trek, the tour took in $8.7 million in ticket sales at the box office from 78,530 sold tickets at five performances, based on reports by promoter Live Nation”.

There are two sides to Lady Gaga in a life that is far from binary. Many assume, looking at Pop stars and the success they accrue, are going to be adjusted, satisfied and smiling all the time. One does not realise how draining and demanding a modern music career can be. Gaga has not long let the dust settle from her headline appearance at Wrigley Field and the historic nature of that. She is the first female to do so – her social media feed attested as to how tiring it was – and attacked that responsibility with passion and courage (“Welcome to the mother*cking womb” was her bellicose lay-down to any doubters). There is no denying her status and celebrity has helped her become a pioneering and groundbreaking artist. Joanne is Gaga’s most-recent album (2016) and, by some, seen as a mixed affair. One cannot argue with the figures and performance of the record upon its release:

In the United States, Joanne debuted at number one on the Billboard 200, selling 170,000 copies in its first week, and 201,000 total album-equivalent units according to Nielsen SoundScan. It became Gaga's fourth album to top the chart following Born This Way (2011), Artpop (2013), and Cheek to Cheek (2014). The album also was 2016's second highest debut for a female album in the nation after Beyoncé's Lemonade opened with 485,000 copies. As a result, Gaga became the first woman to have four US number one albums in the 2010s.[128] The album-equivalent units for Joanne consisted of 135,000 song sales and 26 million streams along with the traditional 170,000 album sales.[129] The debut of Joanneprompted Gaga to rise to number 1 on the Billboard Artist 100 chart, which measures artist activity across the publication's most influential charts.[130]

The album sales dropped by 70% to 61,000 units in the second week, consequently it fell to number 5 on the Billboard 200.[131] By April 2017, the album had scanned 515,000 in sales.[132] Following Gaga's Super Bowl LI halftime show performance, Joanne arose 66–2 on the Billboard 200, selling 48,000 copies and 74,000 total album-equivalent units (up by 818%).[133] Joanne debuted at number 2 on the Canadian Albums Chart with 17,500 album-equivalent units, behind Leonard Cohen's You Want It Darker. According to the Canadian SoundScan, the album had the third highest on-demand streams in the country.[134] On November 4, 2016, the album was certified gold by Music Canada for shipments of 40,000 copies in the country.[135] Like the United States, the Super Bowl performance also had an impact in Canada, where Joanne vaulted from 54–2, making a total of 524% gain in album-equivalent units.[136]

PHOTO CREDIT: Beats 1 Radio

In the United Kingdom, Joanne debuted at number 3 on the UK Albums Chart, with first week sales of 26,694 copies, behind Elvis Presley's posthumous release, The Wonder of You, and Michael Bublé's Nobody but Me.[137] On the UK Album Downloads Chart, Joanne entered the chart at number 1. It also reached number 2 on the Official Albums Streaming Chart, and number 5 on the Official Physical Albums Chart.[138][139][140] The following week, it exited the top-ten, dropping to number 14, with sales of 9,602 units.[141] As of February 2017, the album has sold 90,624 copies in the nation, and has been certified Gold by the British Phonographic Industry (BPI) for shipping 100,000 units.[142][143] Following the Super Bowl performance the record moved from 88–11 on the chart with sales increasing to 5,289 copies.[144] Joanne debuted at number 3 on the Irish Albums Chart.[145] The album had a less than expected debut in France, where it entered the album chart at number 9, with sales of just over 8,000 copies. Pure Charts website theorized that the moderate performance of the lead single, "Perfect Illusion", and the absence of Gaga in the media during album release week, contributed to the low debut.[146] By the year end, they deemed Joanne as one of the commercially disappointing albums in France, achieving total sales of 12,000 copies.[147]

Critics noted how strong Gaga’s voice is throughout the album and the genre-fluid nature of the material. It remains a strong album and one with plenty of highlights. Gaga co-produced the album with Mark Ronson and BloodPop and, between them, managed to make songs like Perfect Illusion, Million Reasons and John Wayne as strong as any material in her back-catalogue. Some felt the songs and themes addressed were too calculated and meticulous – perhaps, not as much freedom and independence as her earlier records. I am not a huge fan of Lady Gaga’s music but appreciate the effect she has on her fans and how different she is when compared with the Pop mainstream. Joanne is a more stripped-down affair than Artpop (her previous record) and veers between Dance-Pop and Country songs. There is more sophistication and vulnerability on the record. The bangers and dancefloor classics have not been abandoned: they have been mixed inside more adult and personal tracks. There is only three years between the albums but a lot happened in the period between the records – more on that later. Joanne, maybe, signals a new direction for Gaga: from the eye-catching Dance-Pop leader to someone taking the lights down – and the volume – and less constricted. Joanne allows energetic expression but it has time for softness and tenderness. It is less concerned with fitting into moulds and repeating what has come before.

PHOTO CREDIT: Ruth Hogben

It is Lady Gaga’s first two albums – The Fame in 2008 and Born This Way in 2011 – that took her from obscure singer to a global icon. Her debut, with a few co-writers/producers, possessed plenty of hits and distinction. Paparazzi, Poker Face and LoveGame as solid and original and fresh Pop hits that shook up the scene and introduced a rare and colourful plumage – an artist that did things differently and provided a definite degree of interest and fascination. I remember when that album arrived and, not a fan of Pop at the time, was drawn to the talk and attention the album was afforded. Irony-filled, huge and dramatic: no surprise the record topped the charts in multiple countries and sold by the bucket-load. Three years is a long time between releases but, from 2008-2011, Gaga was working on new material and bringing styles like Rock and Electro into the mix – making sure she retained her identity but evolved between albums. Sexuality, freedom and religion are all addressed on the record and, from its alluring and biker-chick cover - is a sexier and more defiant work. The step-up in quality and confidence can be heard on songs such as Born This Way and Judas. There was criticism of the album – its brazen use of religious imagery (mixed with sexuality) offended some corners – was washed away by a sea of positivity.

Even those critics outside of the Pop world – NME and a lot of the broadsheets – poured praise on the record and how passionate Gaga is throughout. Every song gets an epic and personal performance full of excess and strength. Each song is nailed and there is so much life and drama. Judas is one of the best songs from the past ten years – regardless of any genre and artists. From four-on-the-floor House to Disco; Funk and Soul; Pop and Electro – so many sounds and genres seamlessly stirred and poured into an incredible album. Themes look at racial equality and feminism; equality and strength in society – not judging people and challenging those who do wrong and are insincere. Not only are albums like The Fame and Born This Way accessible and popular Pop albums – they are a lot deeper and sophisticated than most of what is out there. It is small wonder critics were impressed by the wisdom, depth and potency of the lyrics. I love the music and the performances but it is what Gaga sings about that endures. She is not someone that wants to leave the serious and hard-hitting at the door. Even from her debut; her music has challenged stigma and broken down barriers. It is important providing music that gets into the heart and head but, one of the big reasons her fanbase included a wide range of ages and sorts, is the fact her lyrics were/are brave and compelling.

To people like me – men who are a bit older – there is a lot to take away. Each of her albums has gained enormous success and, at either end of the creative process, there is a lot to take on and do. The work-rate required to record the songs – from someone who puts her all into the music – is enormous. After that; Gaga would promote and tease songs from the record. Interviewing and promotion right unless release date – it is an exhausting and never-ending circus of sound-bites, articles and repeated answers. Behind all the glamour and excitement of the record, one has to remember she is a huge artist whose time and body are demanded by all. There would not have been a lot of time for her to decompress and detach from music at that time. When the albums were released; there was the promoting, still, and tour dates. It is when the recognition and sales come when the pressure mounts. It is rewarding being an inspiration but there is a downside to the allure and acclaim. Those big world tour – she is on one right now – are necessary to ensure people around the world get to see their favourite star up-close and personal. From the U.S., she travels across the continents and to thousands of people. Ferried between towns and locations for the people: what is the true toll on the person in question?!

PHOTO CREDIT: Greg Noire

I did not want to get too involved in the blow-by-blow of each album for a number of reasons. There are those big videos and songs online – and will include a few at the bottom of this piece – and we all know the chart positions and how the albums were received. If one wants to know the themes, producers and complexities of those albums - they can look on Wikipedia and fill their boots. I wanted to talk about the positivities around the music and how affecting her music is. Lady Gaga is the antithesis and remedy of the shallow and vacuous Pop performer. There are so many who flaunt their bodies and are addicted to Instagram and whoring after fame. This is a cancer that needs to be eradicated because it means artists like Lady Gaga are being lumped in with them. To me, her music is maybe second or third down the list of reasons why she is so essential and influential. The girls and young listeners who take her music to heart are not repeating mantras and choruses aimlessly. They are connected with a very real and human personality who reveals a lot about herself. I mentioned how the tours bring pressure but that is only the tip of the iceberg. Every new album campaign and cycle is exhausting and hugely involving. Artists like Gaga give their everything and are dragged around the world. There is not a lot of time to see family or take time to relax. Scrutiny and pressure is on their shoulder.

PHOTO CREDIT: Harper's Bazzar

If one looks a typical interview - there is that demand to be professional and keep everything on-point and not too offensive. People want to know about the music and what goes into it but not a lot about the artist and what they are like away from music. There are few asking how Lady Gaga handles the endless pressure and what she is like away from the glare and excitement of performances. Away from the multi-million-dollar revenue and success of her tours: there is a vulnerable and real woman that people forget about. A U.S. video questioned whether Lady Gaga should reveal herself so explicitly in the documentary. Those seeing clips are wondering whether that brutal honesty and no-holds-barred aspect to her personality will have a negative effect on her fans.

PHOTO CREDIT: Lady Gaga

I do not feel there is any consideration of her fans: the people who love her will watch it and give their hearts and tears to her. She is not looking to exploit her celebrity and get attention from anyone. I implore people to search YouTube and Google for interviews she has conducted over the years. There is rarely a sense of struggle and someone suffering beneath it. Every time she gives an interview there is something memorable to take away. She is such a fascinating personality but, to many, she is a ‘brand’ – not someone who warrants any safeguarding and human connection. So many want to trip her up and ask asinine questions. The reason Gaga: Five Feet Two is causing ruction is because it is the result of a young woman showing people she is as real and relatable as anyone out there. If an ordinary human made this documentary, there would be few objections.

PHOTO CREDIT: Harper's Bazaar

It is upsetting seeing a famous person reveal themselves with such brutality and lack of filter. I am going to be interested seeing how the Netflix documentary is received and how her established fanbase takes to it. Most will applaud her courage for tackling mental ill health and the downsides of fame. We all know about Lady Gaga’s anxiety and the fact she has wrestled loneliness and demons for many years. This is not a new occurrence but has exacerbated since she came into music. The more successful she gets; the worse her depression and anxiety become. I know many people who feel a personal connection to Gaga because she represents a struggle many of her fans go through. Seeing a star articulate the issues and problems many keep closeted: that provide so much heart and comfort to them. If musicians shut themselves away and maintain a smiley and one-dimensional façade – this is going to give false impressions to the people who love them. Recent suicides – Chris Cornell and Chester Bennington – have shown how musicians, we feel are okay and successful, take their own life. How culpable are we, as fans, for the downfall and emotional torment some of our most beloved musicians face?! One cannot exculpable themselves but, naturally, the problem is more complex than a simple accusation. As a social media obsessed generation; we are becoming less connected with humans and a lot more demanding. Lady Gaga is a champion for mental health and wants betterment and restructure. She knows the profound and prolific problems people like her face and the need for conversation.

PHOTO CREDIT: Harper's Bazzar

Many of us see the glamorous, gorgeous and successful young woman fill stadiums and see her albums go to number-one. The snippets from her 22nd September-due documentary highlight one clear-cut fact: Lady Gaga feels very alone. She has millions of adoring fans but, when she goes home at the end of the day, she feels alone. Maybe love and realistic relationships are impossible given her position and the fact her every move is scrutinised means she cannot really enjoy the benefits of a conventional and substantial relationship. Maybe there is physical gratification but she is not someone going out and spending the night with random men. She wants a long-lasting and true relationship. Not only to make her life feel complete but relinquish a lot of the burden she has on her shoulders.

The endless glare of the paparazzi – the same she was documenting on her debut album – will not let her be and, as we have seen, judge her when she is open to the public. I laid out the sales figures and the commercial success of Joanne because it shows the numerical value of her success – without addressing the personal costs. Those numbers and are black-and-white and seem, in the media’s eyes, to define an artist. Gaga has earned her places as a revered and special human because she offers help and support to so many – supporting the L.G.B.T.Q. community and making anxiety and loneliness more visible. The reason Gaga: Five Feet Two is so important is because it lifts a lid on the realities of modern music and how we treat artists – never considering how they feel and how fame affects them.

IN THIS PHOTO: Lady Gaga speaking at a vigil for the victims of the shooting in Orlando on the steps of City Hall

Gaga is someone who is like you and me – albeit, blessed with incredible talent and passion for what she does. It doesn’t matter how much money she makes and how her tours do. That is a reaction to her popularity but that, in turn, is the catalyst for a sense of expectation and isolation. If the likes of Chris Cornell had been given the chance to reveal their depression and fears in a documentary – would his life ended as soon and heartbreakingly as it did?! That is for debate but I think it is brave and much-needed having an artist as big and known as Lady Gaga (literally) showing her bruises and scars to the camera. We get so absorbed with social media and how meaningless it can be. Even typing this, I am being grated like cheese - given the fact so many people post so much crap. From endless videos and pointless sharing: there is nothing social and real about it. That makes isolation less visible and meaningful – compared to ridiculous videos and status updates. Lady Gaga’s existence is based on streaming figures, dollars and fans – she is rarely afforded the chance to tell her story and ask for time off. Her documentary is not a cry for help or a cheap publicity stunt. It is an ego-free and uncompressing examination of a complex human who, despite her wealth and tremendous backing, does not feel as supported, loved and enriched as she would hope. In 2017 – when there is still a stigma around anxiety – we need more revealing documentaries to make one aware of the extent and reality of mental illness and the simple devastation of loneliness.

PHOTO CREDIT: Beats 1 Radio

One cannot objectify and question Lady Gaga’s aims or feel it is too revealing. We show films with all manner of sex, violence and profanity but when it comes to real and more common incorporations – menstrual blood, the realities of council estates and struggles in communities – that is overlooked. It is not ‘cool’ or what the media want us to see. Yes, anxiety is not fashionable but, then again, how much irony would there be if a star like Gaga succumbed to her loneliness and that was spread in the media. There would be a combination of gaudy voyeurism and trolling – mixed with genuine heartbreak and questions. People would ask why this happened and whether we could do more. This, as I said, is not her cry for help or giving up: a portrayal and expose of a person who is very different to the brash and confident artists commanding stages around the world. The media is so obsessed crunching numbers and spreading rumours. They are relatively uninterested in personal struggles as that, they see, is not part of their job and appeal – feeling they have fame and success so what do they have to be upset about?! Breaking these arguments down – and opening minds to physiological issues becoming rifer in music – is a big and positive step towards better mediation and awareness. Lady Gaga, in her music and humanity, has given so much to the people. She is, as the documentary states, a mere five-foot-two but, in heart and courage, is a giant of a person. Gaga: Five Feet Two will spark debate so let’s hope it is more positive than negative. Despite her loneliness, pains and struggle: Lady Gaga is certainly a hell of a lot…

TALLER than most.

FEATURE: Memory Tapes: How Music Defines and Shapes

FEATURE:

 

Memory Tapes: 

 How Music Defines and Shapes

________

UPBRINGING and parental guidance are as key to moulding a human…

PHOTO CREDIT: Unsplash

as society and the people around them – how they dictate their life and the decisions they make.  I have spoken about music before and how instrumental it is to one’s development. Many of us do not realise how powerful and multi-purpose it can truly be. I find myself, now, in a position where I require guidance and comfort as much as any time in my life – the solitude turning to loneliness. Music is a synthetic form of human contact and unable to tackle the complex maelstrom of emptiness. Loneliness and depression are, in themselves, powerful forces that can immeasurably disrupt and change someone’s life. The lexicon and unquestioning love of music is a remedy that is not being harnessed quite as fervently as it should be. I, myself, struggle with a variety of psychological concerns and find music, whilst not a cure, provide accompaniment and unbiased guidance. Again, I am not suggesting if one gets into music at a young age they can avoid pitfalls such as criminal recidivism, social anxiety and depression – these are factors influenced by surrounding, unique D.N.A. and societal factors – but few are being indoctrinated to the potency and passion music’s variegated banquet offers. To me, it has been a lifeline and purpose: it is debatable how life would have shaped itself were it not for that ‘spark’. An interesting piece, from Mid-day.com, supports my claims how much can enrich and nourish the soul:  

“Kamakshi and Vishala Khurana, who founded a company called The Sound Space, which practices music therapy, believe that music has a miraculous power to heal and that sound has the capacity to influence every aspect of a human being from the time of conception. They conduct specialised workshops including sound for better concentration, music therapy and an easy and fun filled introduction to Indian Classical music for children.

PHOTO CREDIT: Unsplash

"Music should constitute a major part of our lives. Listening to the right music has innumerable benefits such as lowering stress levels, reducing depression and anxiety and maintaining a happy, balanced and calm home/office/travel environment. There's nothing like too much music. Very loud music can adversely affect the ears. But music only benefits our brain by releasing endorphins, which elevates one's mood. It is in fact a wonderful stimulant," says Vishala Khurana, co-founder, Sound Space.

Ashutosh Phatak, founder and teacher, True School Of Music asserts, "Life is full of music and there's no better way to live it. It doesn't have to mean sitting down and consuming albums, but there's music everywhere — in the rhythm of a local train's movement, or in the sound of the waves at high tide. People tend to watch more music than listen to it these days." He feels that if more people listened to music all the time, they would be calmer and better disposed to handle stress”.

It is interesting the effect music has and, in a scene that, sometimes, is hypotonic and anaemic – realising how evocative and restorative great music can be is a wonderful thing. I feel the young need to be initiated to the depth and true scope of music as young as possible. There is a fear, among many, we are becoming less adventurous and backwards-looking the less prevalent physical forms of music are. The browsing culture is being (more and more) limited to online channels and radio discovery. Both are valuable sources of discovery but I wonder how broadminded we are as consumers. Every day, I rediscover a song that escaped my mind – caught up, as I usually am, with what is brand-new. I suppose, doing what I do, the majority of my musical assessments are with new acts. I am a big fan of stations like BBC Radio 6 Music – who provide a perfect balance of older and fresh sounds – but I feel we are all becoming time-limited with regards music. I have a worry the new generations are going to be brought up on streaming services and modern radio – the lost art of vinyl heritage is becoming a rarity.

I, like many of my generation, grew up with our parents’ record collection and sounds of the time – whether that be modern artists on C.D. or cassette; vinyl crackling in the background. My evocative and genre-straddling upbringing spanned as far back as the 1930s; right through to the present (1980s and ‘90s) and, as I went through school, the wonderful transition from twentieth to twenty-first-century. I have not forgotten the music I grew up on and, if anything, I am discovering new nuances and lessons. Not only does music of the past connect us to memorable times and periods: it helps inspire contemporary artists and ensures music has that rich variety. I am concerned we are becoming too modern and relying on sites like Spotify for our music suggestions. It is as good as any way of turning on to the new artists out the block but, if one wants to immerse themselves in the fullness and endless fascination of music’s annals – how easy is that to do?! I am finding few people, younger than me, taking the trouble to reconnect with older music and the artists they would have heard growing up – and those their parents experienced when they were young. Before I continue my point; I wanted to explain how meaningful a single album/song can be. For various reasons, I have been listening to my favourite album quite a lot: Kate Bush’s The Kick Inside. It stands as a tremendous album but, to me, it represents so much more. It is what I am saying regarding music’s powerful allure. That is a record, released in 1978, that came to my ears round about 1986 (or there about). It instantly hit me and amazed me with its beguiling beauty, strange vocals and fairy-sweet flurries. It, as the years have progressed, gained new sides and qualities. I do not think an artist of this age could produce a record as timeless and enduring. Maybe it arrived at a time when I was more impressionable and uneducated. If I were hearing that album as a teenager; I do not feel it would be any less potent.

PHOTO CREDIT: Fish People/Kate Bush

I shall not go into the album bit-by-bit but, that record alone, has done more to me than every album released this year put together. My fondest music memories arrived when I was going from primary to secondary school. I was experiencing the incredible Dance and mainstream music of the early-1990s and all the innovation available. I feel music hit a rare high in the 1990s so it is no surprise the sounds of that time have remained with me. The retinue of eclectic artists that produced incredible records helped me through tough times: at a stage when I was adapting to growing up and all the fears and uncertainties associated. Not only did I behold the songs of modern artists: the music of my parents – which helped instruct and inform them – was an invaluable source of knowledge and compassion. It is hard to explain how impactful and important music has been to me – from such a young age, too. One of the reasons I am so itinerant and deep-digging when it comes to new music is because I feel there is so much hidden potential. Even if you are a fan of a particular genre; it is always wise seeking out sounds you might not otherwise have considered. In every genre, there is something that strikes a different part of the imagination. I am a big fan of modern Folk and songwriters that articulate subjects such as love and self-examination with such beautiful and entrancing tones. I am not criticising modern music but find, it alone, does not fulfil me. I remember songs like Everybody Wants to Rule the World and where I was when I first heard it – my first memory of life and, hence, the first musical experience – and why Bush’s Swallowed is particularly emotional. All of us grew up with music and realise how important it is but I think a lot are putting the past on the shelf and too concerned with that is current and popular.

IMAGE CREDIT: Getty Images

There are, to be fair, people who explore music from past and present but I wonder we are letting history slip by. I would not be where I am (and who I am) were it not because of the way I was brought up and how music was instilled in me. It is such an essential part of life and has helped me overcome so many obstacles. Music is a stunning force that can lift the mood and, more importantly, give purpose to a life and save people from harsh realities – I have seen many, on the point of suicide, saved by music! If one limits themselves to the sounds of today; it does not give the individual the best and variation music provides. Streaming and social media are big players and many are exclusively discovering music through these platforms. That is good – if one wants to only listen to new stuff – but it denies the soul of so much brilliance. I am thankful for the way music was taught to me and the passion I developed young. Artists like Kate Bush – who I have rhapsodised over and with good reason – who has been a pivotal Muse and constant companion. I cannot state how fulfilling and enriching music can be if you open yourself to it and swim in its warm and vast ocean. If we ignore and pass by everything that has come before, we are going to raise generations unaware of how music has developed – and how it began. In every possible connotation, sense and aspect: embracing music with open arms really does…

PHOTO CREDIT: Unsplash

MAKES a huge difference.

FEATURE: The Return of The KLF

FEATURE:

PHOTO CREDIT: Built by The JAMs  

The Return of The KLF

________

EARLY this morning; The KLF’s Jimmy Cauty and Bill Drummond…

PHOTO CREDIT: Faber & Faber

launched their new book, 2023: A Trilogy by The Justified Ancients of Mu Mu. The launch, in Liverpool, saw the duo arrive in a battered ice cream van with a spooky jingle. The rules set down – to those attending the launch – included (the fact) people could kiss them (but no tongues allowed) and they would get their book stamped – none of this signing malarkey! It was a typically unique and quirky spectacle that, perhaps, indicates a new phase for the Scottish innovators?! I have been following the duo since their early days and am amazed at how many guises there have been. We all know the time they set a cool-million on fire – more on that below – and an infamous stage appearance. where they fired a machine gun into the crowd (nobody was injured in that publicity stunt).

They are not an act that entertains conventionality and predictability. Over the last few months; there has been rumour and chatter something is happening in the KLF camp. Before I go on further, sourcing a couple of articles from The Guardian today, news and revelations concerning The KLF’s new book. The first looks at the publicity stunts and ending their career – providing an extract from their new work:

“So why exactly did the KLF set £1m on fire? It’s been a burning question for 23 years, as pop’s greatest provocateurs chose to let rumour, conjecture and myth around the publicity stunt – held on the Scottish island of Jura and ending their career on 23 August 1994 – swirl about unanswered for two decades. Until now.

PHOTO CREDIT: @Popjustice

GoogleByte v Beyon-Say: an exclusive extract from the KLF's chilling novel about the world in 2023

The KLF, the band that burned £1m, are back – with a futureshocker in which AppleTree and GoogleByte are global powers. But is a shadowy group called the Illuminati actually in charge? And is it true J-Zee and Beyon-Say are members? 

The project formed by Bill Drummond and Jimmy Cauty in 1987, which has lain dormant in a self-imposed moratorium of 23 years, returned at 00.23am on the morning of Wednesday 23 August. As Drummond and Cauty drove into a backstreet of Liverpool in an ice-cream van to begin three days of events, their first new work – a trilogy of dystopian fiction, an “end of days story”, called 2023: A Trilogy – simultaneously dropped online.

IN THIS PHOTO: Bill Drummond and Jimmy Cauty

Yet this is not a book for those looking for straightforward answers, and is as obtuse as the KLF themselves, who have published it under their other moniker, the Justified Ancients of Mu Mu. It is a multi-layered, self-referential meta tale, starting with two undertakers, Cauty and Drummond, who discover a life-changing book called 2023: A Trilogy on a hotel bookshelf. It was written by “George Orwell”, the pseudonym for one Roberta Antonia Wilson, 33 years ago. “What you are about to read is what they read – well almost,” reads the preface, adding that it has been translated from Ukrainian.

It is a tale which switches between the diary of the author, Roberta, in April 1984, and her fictional novel set in 2023, in the tax haven of Fernando Po, which is the last nation state on earth (on a small island off the coast of Africa). “It was once part of Equatorial Guinea, before Equatorial Guinea did their lucrative deal with Wikitube,” notes the book.

It is littered with bastardised references to 2017 culture in a nod to the grim future that could befall us all – the Big Five who rule the world are GoogleByte, Wikitube, Amazaba, FaceLife and AppleTree. Winnie, the main protagonist, has had an affair with Julian Assange in her younger years, and now uses an iPhone23; Michelle Obama has been the first female president of the US in 2020 but now models for Damien Hirst; Putin was crowned (ceremonial) czar of Russia; Simon Cowell was murdered by a former contestant live on China’s Got Talent in 2017. An alternative history for the Beatles and their role in world peace is also offered. Yet for all the technological progress, today’s social flaws, particularly the degradation of women, remain unchanged in 2023.

PHOTO CREDIT: Unsplash 

KLF’s re-entrance into the world on Wednesday night in their battered ice-cream truck also almost exactly mirrors a passage of the book, which points to a note scrawled on a warehouse wall in Liverpool. “I found myself in a dusty, sooty city. It was night and winter and dark and rainy. Then I saw an ice-cream van pull around a corner and pull up beside a derelict building.”

While the book is not specifically about Cauty and Drummond, they crop up as self-referential characters, at one point referred to as “men in their late sixties” who “meet up in a red brick two up, two down terraced house in Northampton, alongside comic book author Alan Moore. It is the first time they have been in the same room together since 1994.” In the book, these three men withdrew £1m in £50 notes and burn them in a bonfire in front of the Houses of Parliament. What follows is a passage which is the closest to an explanation for the publicity stunt that the KLF have ever offered”.

PHOTO CREDIT: Unsplash

The second article gave us an exclusive extract from the book: providing a sense of what it is about and the fascinating imaginations of Jimmy Cauty and Bill Drummond…

“09.27 Sunday 23 April 2023

There are some who have decreed order is the natural order of not only the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have proclaimed chaos is the natural order not only of the human condition but of everything that has ever existed and is ever likely to exist.

And there are those who have made it their lives’ work to exploit our natural hunger for order.

And there are those who have made it their lives’ work to exploit our natural hunger for chaos.

It is a free market for all of you living in the free world.

Whereas I am on the island of Fernando Pó, off the west coast of Africa. It is where I was born and bred. I may have disagreed with the island being a tax haven, but I so abhor it being bought by AppleTree. Or, for that matter, by any of the other Big Five. I am totally and completely against what they are doing with the world. Womankind needs to have war, famine and inequality to function properly: without them we as a species will be over within a couple of generations. As for religion, we need as many as we can have to compete for our souls. The more radical the religion, the better.

That is why I am here with these five dolls I have made to represent the founding mothers of each of the Big Five, and over the next few days I will be sticking my needle made from bamboo into them. You may think this is a futile and primitive approach to bringing about world change, but it worked for my ancestors and it already seems to be working for me. Last night I began testing the process by putting a needle just a short way into the doll that is Stevie Dobbs, and I think it was successful. I can already sense her days are numbered”.

Tom Robinson is paying tribute to The KLF from 1 P.M. on Sunday. Catch that BBC Radio 6 Music show as it provides better revelation what is happening in their creative process. It is going to be intriguing see if there is anything coming from Cauty and Drummond. Whether the book is a prelude to a new album; maybe the guys are planning a retrospective gig of some degree. The reason this current release appeals to me as it provides chance to celebrate one of the most influential acts in the House/Trance movement. After 1987 (What the Fuck Is Going On?) was released in June of that year – the boys were on the map and, at that juncture, known as The Justified Ancients of Mu Mu (The J.A.M.s).

IN THIS PHOTO: The album cover of Chill Out

All You Need Is Love was their first single and, with that, they began their memorable, if controversial career. It is not considered their best album but did put them in the critical mindset. The fact the samples they used on the album were plagiarised sparked a huge debate. Now, an artist could not do that without facing a barrage of legal bills and court cases. It is debatable, if artists like The KLF had been more judicious with their sampling – asking the artists for permission – such strict rules would not have come in. The plagiarism on the record was a cheeky bit of creative license but did, in as much as anything, show they were willing to do whatever it took to succeed and be remembered – or maybe they got lazy and thought nobody would realise! There were some good songs (on the record) but is seems far less engaging and innovative than their later recordings. Unfortunately, owing to the reckless, unauthorised use of samples; ABBA objected to the duo’s use of Dancing Queen – all copies of the 1987 were destroyed and it led to the self-deprecating and revealing, Who Killed The JAMS. It was holy nihilism and a production of self-deprecation and pathos. Many critics were impressed by the response to media criticism and legal issues – that blighted their debut album.

It was, too, a creative and sonic step from the duo and led, with compilation and remix-albums in-between, to their third studio L.P., Chill Out. Many see that Dance album as one of the genre’s best: most agree it is a huge sonic leap with wide-open spaces and intriguing sonic complexions – developed and intricate electronic imaginations. Birdsong, womb-music (as one critic called it) and grandly epic music. It was an ambient and downbeat song that juxtaposed a lot of the more mindless and pointlessly upbeat offerings. At this point, The KLF’s creators – they were calling themselves ‘The KLF’ at this point – were more jurisprudent and were using samples more intelligently and conscientiously.

There were samples from Elvis Presley (In the Ghetto) and Fleetwood Mac (Albatross) but, unlike their debut, The KLF were not forced to delete it – not being chased by vengeful Swedish Pop groups! I am stalling and hovering over important swathes of The KLF’s genius but, in truth, the height and apex of their music career was their final album, The White Room. I am typing this whilst enjoying the Tammy Wynette-heightened banger, Justified and Ancient. It is such a strange and rousing song that puts sound-effects, ice cream van-referencing lyrics – heading into Mu Mu Land – and one of the most hypnotic choruses of the 1990s. The KLF disbanded in 1992 – there were plans for a darker version of this album – but, what they left, was astonishing. The Stadium-Pop/Trance/Dance/Electronica anthems were conceived as a road film (coinciding with their film of the same name) that was The KLF’s search for the mystical ‘White Room’. It was, by anyone’s judgement, the artist peak of the late-1980s/early-'90s Acid-House movement.

The 1991-release, in its definitive forms, contains some of the biggest songs of The KLF’s career – covering the earlier incarnations, for that matter. What Time Is Love, 3 A.M. Eternal (Live at the S.S.L.) and Last Train to Trancentral are absolute classics of the time. Justified and Ancient, with that peculiar but essential Tammy Wynette turn, helps create a wonderful and hugely spellbinding tune. Yeah, there are some fillers on there – Church of the KLF and Build a Fire are not exactly essential – but it is those four tunes with, say, the title track, define an album. It was a perfect finale for Cauty and Drummond. Reviewers often include it as part of their favourite one-hundred albums ever. It is not only a definitive statement from the 1990s: it is one of the most enduring and spectacular albums from all of music.

Take away the machine gun-toting Brit Awards spectacles and money-burning stunts; the mayhem and the chaos – it is the music that overcomes and outshines all of that. Of course, being The KLF/The Justified Ancients of Mu Mu; the theatre and scene-stealing goes hand-in-hand with their music. We all miss those heady days when the duo were running riot and, away from the headline-grabbing antics – they were creating some of the most unifying and influential sounds of the day. Maybe The KLF’s dystopian and future-focus novel – in all its forebode and allure – is a standalone event but one would hope for more. Maybe there will be another album: that must be what everyone is wishing right now! The ice cream van arrival and bespoke publicity campaign cannot be for a book launch, alone! I have been compelled to look back at the legendary duo and what they have done to music; how they have changed the culture of Dance music and those incredible highlights. Whatever is coming next, you just know, it is going to be…

 IN THIS PHOTO: The KLF's Bill Drummond at the 1992 Brit Awards/PHOTO CREDIT: Richard Young/Rex

BLOODY bonkers!

FEATURE: Taylor Swift and the Social Media Blackout Phenomenon

FEATURE: 

 PHOTO CREDIT: EPA/Justin Lane

Taylor Swift and the Social Media Blackout Phenomenon

________

IT seems, as we have been hearing in music news, Taylor Swift…

is, most definitely, up to something. There has been buzz, speculation and conspiracy given the fact she blacked her social media pages out. It might be the case, before this even goes out, she has announced a new record. It seems there is a trend for artists making a grand statement when releasing new material. Well, actually, it is not quite THIS big but the art of promotion and build-up is becoming more of an event. Radiohead – always the promotional pioneers – started a bit of a revolt with their pay-as-you-like strategy when In Rainbows was released in 2007. Last year, for A Moon Shaped Pool, they took down their online portfolios and channels – casting a black curtain and confusing fans. It was a moment of excitement that strayed from the rather predictable modern promotional strategy. Taylor Swift, one assumes, is doing ‘a Radiohead’ when it comes to her latest album. The Oxford band, when announcing A Moon Shaped Pool, were back in action pretty soon and, before you knew it, the first single, Burn the Witch, was before us. There is a danger, before I hit ‘Publish’, the announcement has been made. One presumes Swift is teasing material – if the social media blackout was an error then it makes this piece rather redundant.

She is a megastar that commands millions of dollars each year and has legions of adoring fans around the world. She could, easily, sit back and release an album in a more conventional sense. Nowadays, one releases a statement or vague announcement. There might be cryptic messages and little concepts – Arcade Fire invented their own (fake) corporation/business when promoting their latest, Everything Now – or something original. Then, the singles arrive one-by-one. Often, one might have heard four or five songs before an album is released. In a competitive market – where streaming and electronic distraction channels are replacing retail – artists have to think of ways to adapt and conquer that dynamic. In a bid to send statements and show distinction: even those as big and famous as Taylor Swift is shutting off the spotlight – leaving the audience in anticipation. Whether an album arrives by the end of the week – one would assume so – it is interesting to see what form the material takes. It might not a surprise of epic proportions but, perhaps, it is a big single or something else. Who knows what it could be - but I am curious why there is the need to create such a sense of theatre and drama! There is something operatic and definitive about blacking out your social media channels. Yesterday, when talking about the twentieth anniversary of Oasis’ Be Here Now; I was filled with nostalgia recollecting the queues that formed around its release.

That was at a time when we still went and bought physical albums. It may seem like I am an old man wishing things were like they were back in the ‘good old days’ - what I mean is; the quality of an album could bring people out in droves! There was no need for hype and endless promotion. There are albums, in this day and age, that get big reactions but music is relying more and more on extravagant and overly-precise promotional campaigns. Every band or artists have a single release schedule: making sure they are introduced to the world at specific times: launched at the perfect time to gain maximum impact. It is clear something is happening in Taylor Swift’s camp but it will be interesting how this will manifest itself. It seems Timeless – a single, by the sounds of it – will be released. Maybe that is the title of an album but, as Vox explained; there have been other developments and theories abound:

“…then, yesterday, she posted a grainy video of a snake on every account she owned. Rumors flew that she was planning to make an announcement at 2 pm Eastern, just as the solar eclipse was reaching its peak in New York, in what would have been the ultimate power move.

The eclipse came and went without an official announcement from Swift, but a page didappear on Genius for a Swift single called “Timeless,” and timeless.com has been registered and is “coming soon.”

We’re still waiting for the official announcement. But right now would be the perfect time for a new Taylor Swift single, for a few reasons. Let’s break ‘em down.

It’s is the perfect way to build suspense for Sunday’s VMAs

MTV’s Video Music Awards are this Sunday, and while Swift isn’t technically on the roster, it’s widely rumored that she’ll be making a surprise appearance. It would be a very Swiftian move, if so. The VMAs were the site of Swift’s infamous 2009 encounter with Kanye West, which was the moment in which Swift was perhaps most thoroughly in control of her publicity narrative, and they’ll be hosted this year by Katy Perry, with whom Swift has a well-documented feud — all of which would mean headlines galore for Swift. By releasing a song now, Swift is in the perfect position to give it its live debut at the VMAs this weekend, summoning all the associated publicity that would come with it.

 If you’re planning to release an album in October, August is when you drop the first single

Historically, Taylor Swift has released a new album every two years in October. Following that pattern, she was scheduled to release a new album last fall, but she skipped a year. If she’s planning to return to her traditional schedule this year, she’ll need to release a new single about three months before she plans to release her album in order to build buzz — in other words, she needs to release new music in August.

It’s been just over a year since the #KimExposedTaylorParty

Last July, Kim Kardashian West released a series of videos online that appeared to demonstrate that Swift had signed off on Kanye West’s controversial “Famous” lyrics (“I feel like me and Taylor might still have sex / Why? I made that bitch famous”), despite Swift’s claims to the contrary”.

IN THIS PHOTO: Kim Kardashian West

The Telegraph had other theories around the reptilian-video-tease and other possibilities:

“Others have suggested that the creature in the video isn't so much a snake but a dragon or a lizard. The pop culture science website Inverseconsulted six (!) different herpetologists for their analysis of what the video actually depicts, with all coming to the conclusion that it probably isn't a snake.

"That is not a snake, nor other reptile," Joseph Mendelson, Ph.D., director of research at Zoo Atlanta, told the site. "It actually changes the length of its body, which is what worms or octopus tentacles do. Snakes, even the couple of really odd ones out there, can't technically accomplish this."

“Others have suggested Swift may be planning a dragon-from-the-ashes video, something involving an octopus, or may just be a huge Game of Thrones fan. These suggestions makes sense, but they also aren't half as much fun to speculate about.

In further far-fetched speculation, it has also been claimed that Swift may have deliberately coincided the release of her new single with this week's solar eclipse as a reference to "shadow bands" – thin streaks of light which appear to shimmer on the ground ahead of and in the wake of an eclipse. These "shadow bands" are also known more colloquially as (dun dun dun) "shadow snakes".

She might be planning a collaboration with Katy Perry

There have also been rumours that Swift will perform her new single live at this Sunday's MTV Video Music Awards, though that has not been confirmed. An interesting aside to that bit of speculation is that the ceremony is being hosted this year by Perry's one-time arch nemesis Katy Perry.

Perry will also be performing her single Swish Swish, a diss track written in response to Swift's Katy Perry diss track Bad Blood.

The fact that both women will be in the same venue has also led to speculation that the pair might bury the hatchet and perform together, particularly after Perry has expressed her wish to put aside their feud in recent months. However, she has denied that they have a collaboration in the works.

"Listen, I'd love for the beef to end, take it off the barbecue," Perry told SiriusXM's radio show The Morning Mash Up yesterday. "I'm down, but I haven't heard anything of it."

That is a lot of spice, flavour and additions to the overflowing rumour-cauldron! Katy Perry has claimed not to be in conversation with Swift so, is that a deflection and bluff?! The Pop market lacks a certain excitement and originality so, when it comes to releasing new material, is the event and build-up more memorable than the actual song?! The song will be called Timeless, it seems. Snakes/snake will be part of the dynamic/video and, given the rumours around Katy Perry - it seems two Pop superstars will join forces. Maybe the song will be a summer-defining epic but, it seems, it is not going to depart too much from Swift’s previous material. Her schedule regarding releasing albums every two years suggests, whatever arrives, will be the start of a new album, one suspects.

IN THIS PHOTO: Katy Perry/PHOTO CREDIT: #StevenKline 

Maybe the snake represents a slimy ex-boyfriend. Relationships and empowerment are going to be important factors in the song – maybe they are merely red herrings. All of this chatter and brew has done what the label and management intended: get the millions interested and build up that immense sense of anticipation. Even people like me – not a huge fan of Swift but an admirer of how she conducts herself – are intrigued by campaigns that differ from your usual strategy. I mentioned how, back in the 1990s, there was a more standardised and low-level campaign. Singles would have been released but few artists would spend so much time and energy creating cryptic messages and teasing videos. Maybe we have reached an age where the spectacle and allure take precedence over the actual music. I am fascinated by the sensation of the social media blackout and why artists do it.

PHOTO CREDIT: Sarah Barlow

When Radiohead silenced their channels; many assumed it was them disconnecting from fans and getting away from the chatter. When the lights were brought back up; new music arrived and, in a strange way, it seems like a much bigger thing. We had been plunged into confusion and many had gone into panic-mode. That sense of relief seeing music arrive created a more intense and visceral reaction than if the band had done it in a straightforward and unimaginative way. Radiohead have always been pioneers and keen to do things differently. Taylor Swift is, perhaps, a less innovative songwriter but is part of a culture that understands the power and importance of social media. That blackout, like Radiohead, saw the Internet go into a tailspin. The rumours were fulminant and it has, for better or worse, seen fans chatter and share their opinions.

We are piecing things together and guessing when a song might arrive. She could have, three years after 1989 – got my two-year theory wrong! – have released an album like everyone else - but her celebrity and cachet has grown to such gargantuan heights; that could never be. It has been a little while and there has not been a mass of material from her lately. Bad Blood (featuring Kendrick Lamar) was released two years ago, is one of the most-viewed videos ever and has been seen over one-billion times. One suspects, if the ‘snake teaser’ were on YouTube; it would get the same amount of views given enough time. One of the reasons Swift has decided to do this blackout is to get the tension and sheer explosion of fascinating to its fever-pitch best. If she had done what, say, Lorde had done and released her album after a run of singles – with a comparative lack of circus – would that be fitting for a mega-famous artist under constant scrutiny?!

It would be have been a risky strategy going for the single-teaser-single-photo-single-album configuration three years after a huge-selling record. There is a timeliness about a possible single/album release. Recently, Swift won $1 (a symbolic amount) off of former D.J., David Mueller, who assaulted her by groping. Swift, after the photoshoot with Mueller and his girlfriend, has said ‘thank you’ and blown off the assault. She won the case and has had to deal with something traumatic and deeply upsetting. Not that new music is a way of profiteering from a high-profile court case but one feels that blackout was a reaction to the tension and furore around her name – she could not simply do something casual and minor. She is a fired-up woman right now and wants to make a statement. There is a sense of calculation throughout everything that suggests she is constantly being guided and advised. Artists as big as her cannot release an album when they want and decide which singles to bring out – choosing their own promotion techniques and choosing their level of involvement.

Not that Swift is consorting with evil spirits: she is a successful businesswoman and performer and is not going to be controlled. It will be interesting seeing the results of all this cloak-and-dagger, smoke-and-mirror stuff. It is interesting seeing how meticulous and grand a promotional campaign can be these days. Smaller artists do not have the status and reputation to be able to do this – very few can take down all their social media sites and have people stick with them. That complete blackout could backfire but, for someone like Swift, it is has been planned and discussed to ensure it is the very best way to promote her new music. Timeless, it appears, will be that music and, whether a single or album, is creating so much talk and rumour - right across international media. On Friday (perhaps); we will get to see what all the build-up is about and, with it, one of the most talked-about and hyped-up music promotional campaigns…

OF this decade.

FEATURE: Be Here Now at Twenty

FEATURE:

 Be Here Now at Twenty

________

THE twentieth anniversary of Oasis’ Be Here Now has provoked a lot…

of discussion and division. I shall come to the album’s qualities/negativities – and the people who are all having their say – but, in 1997, there was a huge amount of attention on Oasis. In the Britpop battle with Blur: advantage had switched to the Manchester band – Oasis’ What’s the Story (Morning Glory?) toppling The Great Escape in 1995 – and they were, in their own words, immortal gods. That braggadocio and confidence was typically cocky but deserved. Having produced two of the 1990s’ best albums: many would forgive them for thinking they were indestructible. The band seemed to articulate a sense of freedom, togetherness and revelation – songs that connected with people and articulated a sense of hope. Oasis’ first two albums – their debut, Definitely Maybe, certainty – was chocked full of anthems and era-defining songs. A working-class band from Manchester able to bring the people together – it sparked the fire of Britpop but, more importantly, introduced the world to one of the greatest bands of the past couple of generations. Before providing my thoughts and why Be Here Now’s release was a historic milestone - a look back at the record’s release and themes. Oasis’ management, Ignition, knowing how well-received their previous albums had been - were concerned about the level of attention Be Here Now might receive – wanting the media to tone things down and keep the promotion to a minimum.

Almost stealth-like: the company wanted minimal airplay and a calmer sense of proportion. Naturally, this backfired spectacularly and, maybe consciously, created hype and speculation. Sensing something monumental was about to arrive; radio stations, fans and publications were heavy with rumour and fascination. This sense of what-if created more momentum and attention than if the band had promoted the album in conventional ways.  The album sold 424,000 copies on the first day of release alone – becoming the fastest-selling album in British chart history. The album’s creation was marred by drug abuse and arguments and, as Noel Gallagher revealed to Kirsty Young during his Desert Island Discs appearance (2015) – they had recorded three albums in as many years and all of it was recorded under the influence (Liam and Noel the biggest partakers). Typical of the band: the previous year was filled with over-confident proclamations and successes.

Noel Gallagher was invited to 10 Downing Street – he revealed, in the same Desert Island Disc interview, it helped usher Labour into government – and the celebrity status the band were afforded, as you’d expect, went to their head. That belief that they were God-like figures, coupled with drug use, was never going to result in a modest and focused album. So proved to be the case because, the winter before its release, Noel Gallagher revealed he was suffering writer’s block.  Most of the songs on Be Here Now, lyrics at least, were taken from before the time Oasis got a record deal. Gallagher was idling and thinking; looking for something that could match the magic of What’s the Story (Morning Glory?).

PHOTO CREDIT: Jill Furmanovsky

Joining album-producer Owen Morris; the two laid down eight-track demos on a TASCAM recorder – drum machine and keyboards for the most part. Morris, looking back at those demos (recorded in Mustique) realised he had made a mistake. Rather than use the demos – Noel’s bass, guitar and percussion notes – they went with the album sessions. The album, as a result, was bloated and overblown but, as explained, I shall come to that later. Having performed two concerts at Knebworth House in August 1996; there was a creative and confidence high that got to them in a good way. Of course, with that much love behind them, they would feel pumped and eager to release new material. Perhaps the pressure and demand meant Be Here Now was rushed. Exploits away from the studio were impacting the strength of Oasis’ bond. Liam was going further off the rails and, aside from taking jabs at Noel, was partying and getting into scrapes. There was tension and the belief Liam would leave the band – I think Noel wanted him out as he was bringing the wrong kind of attention the way of Oasis. There was a consensus that, if the band has recorded the album in summer 1996 – at the villa in Mustique when the songs were laid down in rough form – then that would have been a happier and more focused environment. Maybe wait a year and let the pressure settle but, like The Beatles in the 1960s; that enormous need for something new forced them into a bad decision.

Many saw those villa recordings and the pre-Knebworth House period as the last hurray for the band. Those epochal concerts were career-high moments that started a decline. The anthem nature of their previous two albums was all in place. Whereas records like Definitely Maybe were energised; there was tightness: songs not really going on too long but able to convey so much in that time. Be Here Now was Elvis in his final days: bloated, troubled and lacking any control. The cocaine-fuelled – perhaps literally and sonically – meant tracks ran on and on without much reason. Some cuts repeated lines inanely whilst endless guitar solos and layers gave it a full-on and suffocating feel. D’You Know What I Mean and All Around the World drag and bore; My Big Mouth employs over thirty layers of guitars.  Lots of top-end frequency tones and experimentations – a little more freewheelin’ and indulgent than previous albums. The compelling sing-along that defined earlier breakthroughs like Live Forever was replaced with sub-pub-anthem-chorusing that seemed to indicate there were few in the ranks that had the courage to question Noel.

PHOTO CREDIT: Steve Double Photography

Maybe there was too much rush, tensions and distraction. Whatever the truth from within camp: Be Here Now was released to the world on 21st August, 1997 and was, by all accounts, a phenomenon. The album itself can be split between those diehard fans and those experiencing the band for the first time. From my perspective; Be Here Now is a confident record but one that fails to capture the same quality and focus as their first two. The band was keen to try something new – in terms of sounds – and keep that lyrical simplicity intact. They did this but, fuelled by pressure and growing fame, their sense of economy abandoned them. Noel Gallagher freely admits there should have been judicious edits and greater self-awareness. Maybe, cropping a few of the longer songs would have been beneficial – some songs merely repeat guitar lines and aimlessly find Liam repeating the same codas/words with zero resonance.  

The band had shown, on songs like Champagne Supernova, they could do something long and explorative without losing interest. That song ends What’s the Story (Morning Glory?) and is a classic Oasis anthem. Songs like that, Wonderwall and Live Forever should have acted as guidelines in regards quality, running time and themes. Circumstances had changed so it was understandable Noel Gallagher would not be at the same standard he was on the previous two records. He had, as he confessed, said everything he wanted and was going through a dry-spell – making things up when formulating the songs for Be Here Now. I love Stand By Me and, whilst it is a long song, it has an effective and memorable chorus that seems to reflect the finest points of What’s the Story (Morning Glory?). All Around the World has a big chorus but suffers from excess and over-long running-time.

PHOTO CREDIT: Stefan De Batselier 

There are a few fillers but, take it on its own merits, and it is a classic three-star album: not a disaster but hardly a modern-classic. Compare it to Oasis albums to that point and it can only be viewed as a failure/missed opportunity. Unfortunately, given the hype and expectations of the time, critics listened to it with blinkers and rose-tinted glasses. The same way they had done two years previous with Blur’s The Great Escape: there was the assumption, without listening, the album would be as good as their previous best. The mass positive reviews were generated as a reaction to the huge speculation and build-up Be Here Now received. When the festival has died down, and there was relative quiet, more realistic and considered reviews were generated. Some remained positive others retracted previous praise and provided a more constructive criticism. The change in cultural dialectic between Oasis’ Britpop-period and their distancing from the common man was lost in translation. Ego and enormous self-belief had stripped away the qualities that made the band such heroes.

the real reason I wanted to celebrate Be Here Now’s twentieth anniversary was to reminiscence and reflect on a time when a single album created such a buzz. Today, I have seen articles talk about the album and interview those who were queuing to snap it up twenty years ago. Being a Blur fan; I wasn’t among the thousands that lined the streets to grab a copy when shops opened on that exciting day. Maybe the quality of the album meant a lot of the prominence and prestige its release accosted made the reviews a little unreliable and one-sided. There was a huge wave of excitement one got swept up in. Reading a fascinating article from The Quietus (from last year); it was argued Be Here Now had some clear qualities:

“While critics often cite the chorus as an exemplar of the vacuity of the album, they tend to ignore the different rendering of it the second time through, which reveals its true purpose (the "All my people right here right now/D'you know what I mean?/Yeah, yeah" of the first reading goes from opaque to transparent when the "D'you" is replaced with a "they" for the second run through). The final lines achieve the near miracle of dragging some sort of unifying and relatable lessons from the personal pain of the past, the song turning an image that may in itself be an echo of that abuse when exhorting listeners to "Get up off the floor and believe in life/No-one's ever gonna ever ask you twice". To be able to take something universal and uplifting from that kind of experience is an achievement deserving of the highest respect”.

It is worth reading the remainder of the piece as it does give a new spin – that seems to contradict and challenge the retrospective reassessment the album has received. It was amazing seeing the news the day the album came out. People excitedly packed into shops and chatting in queues. There was a community and spirit in the air we have not really felt since. Yes, there have been big albums that saw huge queues – nothing gathered the same momentum and attention as Be Here Now. It was Oasis’ Beatles-moment – the retail equivalent of Knebworth, if you will.

If the album was not quite deserving of the immense sales; it was wondering seeing people come together - and music meaning that much to others. The digital revolution means we will never again see that same sort of thing happen on the streets of Britain. Our pavements are becoming synonymous with danger and protest: the simple joy of camping out for a long-awaited record seems a distant memory, sadly, we cannot recapture. I feel Be Here Now’s release, for all its warts and faults, marked a wonderful time when the art of buying music was at a rare peak. There is an anhedonia when purchasing music today – if, indeed, you actually do buy something. Gone are the days when a single record could bring together the masses. We are more concerned with streaming and seeing if we can get something for free on Spotify. It is an inevitable evolution but one I am not happy about. Oasis, twenty years ago, did something extraordinary. The controversy and ambiguity of the build-up; the ferocious excitement of the release – the deflating, if slightly funny, bump to Earth. It was a turbulent and wonderfully exciting thing to behold. I have been listening to Be Here Now for a few hours and am appreciating things I missed. I can appreciate the confidence of the band and the sheer dramatic emotion of the movements – those extra-ultra-confident anthems and the layers of guitar. It is very different from anything Oasis attempted but is, by no means, their worst album. It marked a need to make a change and move on: compete with the end of Britpop and the embrace of American guitar music. However you assess it - and whatever you feel about it - one cannot ignore the fact Be Here Now changed the face of music…

 PHOTO CREDIT: Jill Furmanovsky

IN so many ways.

FEATURE: The Peel Session: Celebrating the Legendary Tastemaker

FEATURE:

 

The Peel Session:

 Celebrating the Legendary Tastemaker

________

I am not the biggest authority when it comes to John Peel but felt…

PHOTO CREDIT: Getty

it was only right acknowledging the master as his birthday approaches – 30th August would have been his seventy-eight birthday. It is a tragedy he is no longer with us – more on that later – but one has all those treasured memories and takeaways. Before I share my memories, and why he is such an important figure in music; an overview from Wikipedia:

“John Robert Parker Ravenscroft, OBE (30 August 1939 – 25 October 2004), known professionally as John Peel, was an English disc jockey, radio presenter, record producer and journalist. He was the longest serving of the original BBC Radio 1 DJs, broadcasting regularly from 1967 until his death in 2004.

He was one of the first broadcasters to play psychedelic rock and progressive rock records on British radio, and he is widely acknowledged for promoting artists working in various genres, including pop, reggae, indie pop, indie rock, alternative rock, punk, hardcore punk, breakcore, grindcore, death metal, British hip hop, electronic music, jungle and dance music. Fellow DJ Paul Gambaccini described Peel as "the most important man in music for about a dozen years". In 2012 he was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover.[1]

Peel's Radio 1 shows were notable for the regular "Peel sessions", which usually consisted of four songs recorded by an artist live in the BBC's studios, and which often provided the first major national coverage to bands that would later achieve great fame. Another popular feature of his shows was the annual Festive Fifty countdown of his listeners' favourite records of the year.[2]

Peel appeared occasionally on British television as one of the presenters of Top of the Pops in the 1980s, and he provided voice-overcommentary for a number of BBC programmes. He became popular with the audience of BBC Radio 4 for his Home Truths programme, which ran from the 1990s, featuring unusual stories from listeners' domestic lives”

My first exposure to John Peel was hearing my favourite artists performing the famous Peel Sessions. The idea was an act would come in and perform four songs for Peel. It was a pre-recorded show that meant you could edit and remove any swearing – it might be a risk doing it today, considering some of the acts he had performing for him. I have fond memories of everyone from The Smiths to Jack White. One can get a complete rundown of The Peel Sessions here (there is a complete playlist at the bottom of the piece) and, if you want NME’s consideration of the ten best Sessions – one can glean them here. The reason I wanted to start with this side of his career was the fact those Sessions, not only produced some fine performances and legendary recordings but allowed Peel to connect with an artist. I have been listening to PJ Harvey on BBC Radio 6 Music and, during the feature; there was a snippet of her speaking with John Peel and her career to that point. Peel always came across as someone who did not mince his words but had an affectionate and tender side. That blend of characteristics brought the best from his guests and, in the comfort of the recording space, one experienced tremendous and one-of-a-kind performances.

During the thirty-seven-years Peel was at the BBC; there was in excess of four-thousand sessions recorded by over two-thousand artists. That is extraordinary and one can argue it spearheaded similar live sessions like BBC Radio 1’s Live Lounge and, in fact, every other live session on national radio. Every D.J., in a sense, wants to carry on Peel’s legacy and the way he connected with artists. I will come to his tastemaking legacy but, to show what exceptional taste the man had, a feature regarding his appearance on Desert Island Discs. It is no surprise seeing such an eclectic selection but even less of one finding The Undertones’ Teenage Kicks spoken about in such revered tones.

That is, as we know, Peel’s favourite song and a big reason it has been passed down to new generations. I must admit, the first time I heard the song, maybe in the 1990s, and it opened up my eyes to The Undertones and singer Feargal Sharkey. The next song I heard from Sharkey, conversely, was his cover of A Good Heart – songs that look at very different aspects to love! It is amazing how we discover older and rare musicians through contemporary D.J.s. One of the big reasons John Peel leaves such a vacuum in music is because of his endless passion and curiosity regarding music. A piece in Evening Standard, five years ago, looked at how Peel’s archives and records were being made available to the public:

“Music fans will be able to rifle through the contents of John Peel's record collection as the late DJ's huge archive begins to be opened to the public from today.

The Radio 1 presenter - who died in 2004 - amassed a colossal treasure trove of vinyl during his four decades as a champion of new music.

His collection is now being placed online with details of 100 albums being added in alphabetical order each week over the coming months as part of a digital arts project.

At one stage there was talk of Peel's collection being saved for the nation to give the public access to his records through the National Sound Archive.

IN THIS PHOTO: Peel Acres

But now it will be opened up through an online project The Space, which is being launched by Arts Council England and the BBC.

The first batch of albums - with artists beginning with the letter A - was being placed online today.

The list begins with Mike Absalom, who has called Peel "the musical Maypole around which we all danced".

Creators of the site say it will allow visitors to browse through the records and the DJ's index cards as well as letting them view personal notes, home movies - including footage from his 50th birthday - and archive performances.

 Peel amassed more than 25,000 vinyl albums and 100 will be added weekly until October.

His widow, Sheila Ravenscroft, said: "We're very happy that we've finally found a way to make John's amazing collection available to his fans, as he would have wanted.

"This project is only the beginning of something very exciting."

Users of the site will see his collection includes releases by acts such as Philadelphia new wave band The A's and industrial electronic act AAAK.

The first batch of albums, for which Peel had typed out track listings to aid his cataloguing, also includes more mainstream selections. It features the first three albums by ABC - The Lexicon Of Love, Beauty Stab and How To Be A Zillionaire”.

There are features and programmes that have marked Peel’s death – and what his passing means to musicians and music-lovers alike – but every year we mark his life; there is a sadness, for sure. Whether marking his death or birthday, I feel there is endless currency when it comes to exploring Peel’s legacy. The reason I bring him up is because, in an age where so much of our music is digital and immune to promotion, his presence is needed more than ever. We have D.J.s and people promoting new songs but there are far less of it. So many of us discover music through sites like Spotify and YouTube. Social media plays a big part but the role of the D.J. is becoming less relevant.

IN THIS PHOTO: The White Stripes

The reason I listen to BBC Radio 6 Music is that they value the necessity to bring people the best new music on a one-on-one basis. They play the songs and talk about the artists: they do not provide links to Spotify and leave it there. One gets a very direct and passionate group of D.J.s bringing all the best sounds around. One of John Peel’s sons, Tom Ravenscroft, is a BBC Radio 6 Music D.J. and has the same hunger as his father – even if he hasn’t aged enough to have the same legacy. William, another son of Peel’s is a music journalist/broadcaster. Both seek out the best new talent around and have learned a lot from their father. Another radio titan, Terry Wogan, died a few years ago and was another incredible tastemaker.

He was considered, at one point, the most influential man in music and, on his BBC Radio 2 show, constantly had musicians perform for him. Both Wogan and Peel were both incredibly influential and have had an incredible effect on my generation. Another reason I miss John Peel is the way he pretty much broke The White Stripes in the U.K. It is no secret John Peel loved The White Stripes and it is debatable how many of us would have been aware of the American duo were it not for him. Afflicted by the quality and originality of their earliest recordings; he featured them on his show and had them play as part of his Peel Sessions. The duo was still in circulation when Peel died in 2004 but would have appreciated what he did for their careers. There is no telling how long it would have taken The White Stripes to be taken to heart in this country the way they were – it might never have happened, to be honest. They are not the only act that has Peel to thank for making them successful but they are the most famous.

John Peel left the world, as we know, in 2004 (aged sixty-five) and was on a working-holiday in Peru at the time. It was an immense shock and something we are still getting used to. Before I wrap this up; a little Wikipedia input regarding Peel’s legacy:

“Since his death various parties have recognised Peel's influence. A stage for new bands at the Glastonbury Festival, previously known as "The New Bands Tent" was renamed "The John Peel Stage" in 2005, while in 2008 Merseytravel announced they would be naming a train after him.[25]

The John Peel Centre for Creative Arts opened in Stowmarket in early 2013. The main purposes of the centre is to serve as a live venue for music and performance and as a community meeting point.[43][44]

In 2009 blue plaques bearing Peel's name were unveiled at two former recording studios in Rochdale – one at the site of Tractor Sound Studios in Heywood, the other at the site of Suite 16 Studios – to recognise Peel's contribution to the local music industry.[45]

 On 13 October 2005, the first "John Peel Day" was held to mark the anniversary of his last show. The BBC encouraged as many bands as possible to stage gigs on the 13th, and over 500 gigs took place in the UK and as far away as Canada and New Zealand, from bands ranging from Peel favourites New Order and The Fall, to many new and unsigned bands. A second John Peel day was held on 12 October 2006, and a third on 11 October 2007. The BBC had originally planned to hold a John Peel Day annually, but Radio 1 has not held any official commemoration of the event since 2007, though gigs still take place around the country to mark the anniversary.[46][47][48]

At the annual Gilles Peterson's World Wide Awards, the "John Peel Play More Jazz Award" was named in his honour.

In Peel's hometown of Heswall, a pub was opened in his honour. Named The Ravenscroft, the pub was converted from the old Heswall Cottage Hospital, Peel's birthplace.

PHOTO CREDIT: Rex Features

Several Peel-related compilation albums have been released since his death, including John Peel and Sheila: The Pig's Big 78s: A Beginner's Guide, a project Peel started with his wife that was left unfinished when he died, and Kats Karavan: The History of John Peel on the Radio (2009), a 4 CD box set. Rock music critic Peter Paphides said in a review of the box set that "[s]ome artists remain forever associated with him", including ...And the Native Hipsters with "There Goes Concorde Again", and Ivor Cutler with "Jam".[50] A sizable online community has also emerged dedicated to sharing recordings of his radio shows”.[51]

In ten days, we will mark the seventy-eighth birthday of a hugely influential figure. Nobody since his death has managed to exert the same impact on modern music. There are some important tastemakers around but none that will have the relevance and legacy as John Peel. The number of vinyl the man left the world – one can imagine it filling an entire house – speaks volumes about his voracious passion for music. We need to remember John Peel even more at a time when people are discovering new music through streaming sites. I am not sure what he would make of the digitalisation of music but I am sure he would still be acting and one of the champions and bastions of the physical release – getting artists to perform and scouring crates for rare vinyl. It is sad realising he has been dead for thirteen years but his importance and legacy will never diminish. When his birthday does come, I feel we should make an extra-special effort to celebrate and commemorate one of music’s…

TRUE giants.

FEATURE: Globetrotting (Part Two): Thirteen Artists to Watch

FEATURE:

 

Globetrotting (Part Two):  

IN THIS PHOTO: Tash Sultana/PHOTO CREDIT: @hellomikeamico  

Thirteen Artists to Watch

________

THE second part of my feature looks outside of London...

IN THIS PHOTO: YONAKA/PHOTO CREDIT: Tom Bronowski

well, for most of the acts – and recognises artists emerging from other parts of the planet. There are three more installments to come so, in this second segment, I take my sights to artists I feel will be making some impressive-sized waves in the coming months.

This list looks at some quality American acts with the finest of British; some treats out of Canada and France – a variety of sounds and treasures for the ears. There are a couple of Australian wonders and a real compendium of awesome music and intriguing personality.

Over the coming weeks, I will delve further into new music and collate the brightest and rarest music specimens around – those primed for big things as we creep longing towards 2018…

________

The Aces

Location: Utah, U.S.A.

Genres: Pop; Rock

Essential Song: Baby Who

Reasons to Watch: In June; the girls released their E.P., I Don’t Like Being Honest. They are playing in the U.S. right now but, on 27th September, they play Hoxton Square Bar & Grill and It will be a chance for the British crowds to see the band and what they are all about. The E.P. mixes 1980s-Pop and the sort of Pop/Indie of Haim and Shura. It is an intoxicating brew that is perfect for the summer weather – powerful enough to bring heat and good weather to the British crowds!

Follow: https://www.facebook.com/acesmusic/

The Wild Things

PHOTO CREDIT: Marcus Maschwitz

Location: London, U.K.

Genre: Rock

Essential Song: F.I.A.

Reasons to Watch: One of the biggest regrets, musically, this year – aside from not punchy Ollie Murs when he passed by me in London one day - was when I missed The Wild Things play The Lexington recently – I was afflicted with a nasty cold so felt best not to spread it to them and large sections of London. They claim, the coolest line in a review (of theirs) was "Boiler suits and swaying hair move deliciously with slide guitar" – it is a pretty good line. The guys have news planned and it seems like something big will be going down before we close 2017. Led by siblings Syd and Cam; Rob and Pete amply provide oodles of grit, swagger and talent – they are a kinetic, eclectic and assured Rock band that is among London’s most promising.

Follow:  https://www.thewildthings.biz/

Pillow Queens

Location: Dublin, E.I.R.E.

Genres: Rock; Alternative

Essential Song: Rats

Reasons to Watch: Those who have seen the Irish band perform live – I am among them – can attest at how charming, loveable and explosive they are. They are one of the most passionate bands around but charm crowds with their between-songs banter. Calm Girls, their 2016-E.P., is a stunning three-track everyone should get involved with. This year has been a successful one that has seen the quartet play their first London gig – important steps and big successes are sure to follow.

Follow: https://www.facebook.com/pillowqueens/

Bishop Briggs

Location: Los Angeles, U.S.A.

Genre: Alternative

Essential Song: The Way I Do

Reasons to Watch: There is something alluring and captivating about L.A. songwriter Bishop Briggs. The ponytailed hair and intense stare – a lyric forming there… - mixes with an incredible voice and songwriting gift that makes it hard to compare her with anyone else. Her eponymous E.P. (released this year) bursts with confidence, incredible passion and one of the strongest voices in modern music. She is a unique and captivating artist whose blend of quirky and loveable personality is almost as remarkable as her fresh and phenomenal music.

Follow: https://www.facebook.com/thatgirlbishop/

Sonia Stein

Location: London, U.K.

Genres: Alternative; Pop

Essential Song: One of Those Things

Reasons to Watch: I will be seeing Sonia Stein when she plays my night at #Blogtober (5th) in October. Before then, she is enjoying the love her E.P., One of Those Things, is receiving. Sixes & Sevens, the last of the singles from her E.P., has been unveiled and it seems like Stein has a busy few weeks ahead. There are gigs and promotional duties; I am sure she has plans for more music in 2017. There are few that have the same set of ingredients as Stein – one of those artists that can assimilate popular demands and integrate her own heartbeat and personality into the music. Her beauty and sensuality feed into the music and combines with vibrant and emotive compositions. There is plenty of movement, fizz and energy in her compositions. A musician and human that makes music for the people – even when the songs stem from her personal pages. Someone to watch very carefully.

Follow: http://soniastein.com/

Happy Hollows

Location: Los Angeles, U.S.A.

Genre: Indie-Rock

Essential Song: Feel the Moon

Reasons to Watch: The guys have just released the new single, Meteors, and are preparing for the album release party on 29th September. Concordia is a record you will want to get a hold of because, the songs the Los Angeles group have put out, are incredible. The Art-Rock duo is, as they admit, an unlikely match: two polar-opposites consisting Northern California’s Sarah Negahdari and graduate student/bassist Charlie Mahoney. They met when Negahdari was ready tarot cards at a strip mall (yep) and, since that peculiar meeting, have performed hundreds of shows to adoring crowds. They are better known in their native America but it cannot be long until they are a huge fixture in this country – and the rest of the world!

Follow:  http://www.happyhollows.net/

Tash Sultana

PHOTO CREDIT: Dara Munnis Photography

Location: Melbourne, Australia

Genre: Alternative

Essential Song: Murder to the Mind

Reasons to Watch: If you have not heard this Australian treasure; you owe yourself the pleasure of discovering her music. In an industry where there are few genuine originals: Tash Sultana is a magnificent artist whose mix of sounds and incredible voice puts her music directly into the brain. There is the same dexterity and eccentricity one notices in Nelly Furtado’s voice but that would sell Tash Sultana short – she has so many different sides and is a lot more accomplished as a musician and lyricist. She started with homemade videos and busking the streets. Now, the Melbourne resident is on the cusp of the big-time and has a series of international tour dates approach. I will have to catch her when she comes over next month – her final date here is 02 Shepherd’s Bush Empire on 14th.

Follow: https://www.tashsultana.com/

Tonight Alive

PHOTO CREDIT: Jordan Knight Photo

Location: Sydney, Australia

Genre: Rock

Essential Song: World Away

Reasons to Watch: Like country-mate Tash Sultana: Tonight Alive have a busy tour diary but are performing in Australia-only, it seems. They have international appeal but are keen to make their stamp on their native population. They have seen their music featured on The Amazing Spider-Man 2 and are a Rock band that brings energy and intensity to every song they perform. Led by the phenomenal and compelling Jenna McDougall; it seems there is a big future mapped out for the Sydney quintet. I hope they do come to the U.K. as there is a lot of love waiting for them here!

Follow: https://tonightalive.com/

XamVolo

Location: London/Liverpool, U.K.

Genre: Electronic-Soul

Essential Song: Old Soul

Reasons to Watch: In a lot of ways; there are similarities between XamVolo and the ethereal Benjamin Clementine. Both have natural cool and modesty; a voice that defies gravity and beauty – able to lacquer darkness and provide light to the impossible. The differences like in the sonic backdrops. Whereas Benjamin Clementine has a more poetic and preacher-man calm: XamVolo is a raw and energised prophet whose voice is propelled and backed by teasing beats and swirling electronic vapours. With new material brewing – an acoustic version of Old Soul was unveiled last month – it is only a matter of time before an album/tour is announced.

Follow: http://www.xamvolo.com/

Charlotte Cardin

Location: Montreal, Canada

Genre: Alternative

Essential Song: Dirty Dirty

Reasons to Watch: Washington, Philadelphia and Boston are upcoming dates for Charlotte Cardin. A remarkable musician whose voice, often, is backed by crackling beats and moody pauses – atmosphere and epic possibilities from an artist who is capable of tender consideration and out-there confidence. Accompanied by Mathieu Sénéchal and Benjamin Courcy; it is a musical proposition that fits perfectly into the Canadian music scene. Further dates across the U.S. follow and, after releasing the incredible Bad Boy E.P., there is a lot of demand for Cardin and her music. I hope she is another artist planning a sojourn to Britain – the reception she would get would be immense.

Follow: http://www.charlottecardin.com/

Odd Couple

Location: Berlin, Germany

Genres: Rock; Classic-Rock

Essential Song: Gone Solid

Reasons to Watch: I have reviewed these guys and was lucky enough to dive into Flügge and a modern Rock masterpiece. The band is unconcerned with the generic and shallow Rock music of today. They nod back to the bands of the 1970s: a time when there was genuine spirit and innovation in the genre. As such; one gets dirty and instant riffs; songs that address the world around them and more originality than most artists of their ilk. The duo is playing Europe in the coming weeks and, one suspects, they will have time to pop to the U.K. They have played Luxemburg and Norway and are amazing and rocking crowds on the continent. A musical force you definitely need in your life!

Follow: http://www.oddcouple.de/

YONAKA

Location: Brighton, U.K.

Genres: Alternative; Alt-Pop

Essential Song: Wouldn’t Wanna Be Ya

Reasons to Watch: Led by the incredible and nuanced voice of Theresa Jarvis; the Brighton four-piece headline The Borderline on 14th September and will be their biggest London show yet. Things are getting bigger and better for the band. There are singles being dropped here and there so it only seems natural they will collate into an E.P. I am not sure what the guys are planning but, judging by the reaction their live shows are getting, there is a lot of demand for them. Their hooks and songs consort with darker forces but there is something accessible and mainstream-ready about them. A deep and exciting brew of sounds and scents that singles the band out for great things. Make sure you follow their careers – there are big things ahead of them.

Follow: https://www.facebook.com/weareYONAKA/

HEZEN

PHOTO CREDIT: Isaac Murai

Location: Paris, France/London, U.K.

Genres: Electronic; Trip-Hop

Essential Song: Smoke & Mirrors

Reasons to Watch: Sarah Hezen has gained comparisons to the likes of Massive Attack and Portishead; the inventiveness and quirk of Björk but, comparisons aside, what one hears is a unique artist that has a very impressive story. She has been performing dates in London and divides her time between genre and France – HEZEN is a French artist but is finding opportunities and love in Britain. Her E.P., Stigma, was released earlier this year and it is clear there is more afoot. One only need take a brief hit of her music to be stunned and taken somewhere else. It is so evocative and physical it moves the mind, body and soul. Another artist with a very clear and prosperous future ahead – there are few quite like HEZEN.

Follow: https://www.facebook.com/sarahezen/

FEATURE: Early Risers: The Artists Who Never Bettered Their Debuts

FEATURE:

 

Early Risers:

IN THIS PHOTO: Arcade Fire (whose debut, Funeral, stunned critics in 2004) 

The Artists Who Never Bettered Their Debuts

________

IT might seem like a rather negative title and one…

IN THIS PHOTO: Björk (one of the few artists who has improved and evolved her music after a stunning debut release)/PHOTO CREDIT: Jean-Baptiste Mondino

that employs a modicum of schadenfreude. The idea behind this is to highlight some of the best debuts ever but show how hard it can be topping something so revered and celebrated. Maybe certain acts go in so hard they cannot better themselves. When critics do get behind a record and elevate it to stunning heights: so few manage to go on to record better material or take that kind of pressure. Rather than mock those who have failed to live up to their debut-release stage; I have collected some of the finest introductions from giants of the music scene.

_________

The Stone Roses – The Stone Roses (1989)

The Manchester band have talked about a third album but, as it stands, they have only released the two. It may seem insignificant and pointless saying a band that has created only two albums cannot be judged too harshly for not topping their debut. Such was the impact and strength of their eponymous debut; songs like She Bangs the Drums and I Am the Resurrection became the cornerstones of the 'Madchester' scene. Critics noticed its blasts of 1960s-music and Psychedelia; invention and swagger from the band. They failed to capture that same spark on the ironically-titled, Second Coming - similar-sounding to their debut but minus the timelessness and magic. Maybe the fact it arrived in 1994 – right in the middle of Britpop – made it an ill-fitting outsider. Regardless of its disappointing follow-up: few can deny the potency and legacy of The Stone Roses.

The Strokes – Is This It (2001)

Bands like The Libertines were keen to capture the same sort of energy, Punk rawness and youthful abandon like New York’s The Strokes on Is This It – perhaps not as potently done on The Libertines’ debut, Up the Bracket. Arriving a year into the '00s; the album seemed to represent a feeling that was in the air at the time. The songs, all penned by leader Julian Casablancas, resonate and connect the moment you hear them. They do not have the polished and vapid sound so much of today’s music does – the songs are edgy, raw and underproduced; allowing their true spirit to shine. Their 2003 follow-up, Room on Fire, was an impressive record but could not live up to the standard they set on their phenomenal debut. The band’s current record, 2013’s Comedown Machine, was met with mixed reception – it seems the best days for the band have passed. There have been diminishing returns but Is This It represents a single moment and snapshot perfectly captured by The Strokes. A timeless classic!

Arcade Fire – Funeral (2004)

There are debates as to whether the band’s follow-up, Neon Bible, is their best offering but I feel nothing rivals Funeral. The Canadian band’s latest, Everything Now, has been met with critical coldness. They are a band, like The Strokes, who have gone in hot and have been unable to reach the heady peaks of their first offering. Rebellion (Lies) is, perhaps, the best-known song from the album. Wake Up is a classic whilst the ‘Neighbourhood’ songs – four tracks with similar titles that form a sort of suite – show there is a conceptual arc to the narrative. It is a wonderfully rich and beautiful album that mixes Art-Rock strands in such an interesting and unique manner.

Pretenders – Pretenders (1980)

The legendary American band launched the 1980s with a timeless album packed with classics. They have released as recently as 2016 but, on Alone, it is more a solo project for Chrissie Hynde. The band’s introductory statement contains Precious, Brass in Pocket and Kid – three staples from the band that showed what they were all about. Pretenders debuted at number-one on the U.K. album charts and stayed there for four weeks straight. It is seen as one of the best albums of the 1980s and, to many critics, one of the finest albums ever. The fact the group never scaled the same peaks as they did here is not a reflection on their talent and consistency – such was the gravitas and ambition they put into their debut. It remains a startling album that has influenced a number of bands through the years.

Television – Marquee Moon (1977)

There are few albums that rank alongside Television’s debut, Marquee Moon – let alone debut releases. The incredible songwriting of Tom Verlaine makes every song seem like an adventure and epic. The sonic overdrives and explorations; the lyrics complicated, intriguing and arresting. An essential album in the American Punk-Rock movement defined the times and highlighted Television as natural leaders. Their 1978 follow-up, Adventure, is a startling work but doesn’t quite have the same genius and durability of Marquee Moon. Listening to Marquee Moon forty years after its release means one has fresh ears and perspective. It is timeless and ever-relevant. The music does not age and the performances, if anything, reveal fresh nuance after all this time! 

The Velvet Underground – The Velvet Underground & Nico (1967)

1967 was a year that saw celebratory and pioneering works like The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. That Summer of Love and feeling of rebellion was in the air. Along came an album that addressed heroin, sadomasochism and sexual deviancy – prostitution and loose morals – to challenge that order and balk against the conventions of the day. That was not the intention of the group but, with the likes of John Cale and Lou Reed in the ranks, they were never going to provide a traditional and toned-down record. It was, at the time, given bad press by critics and embroiled in controversy and lawsuits. Retrospective acclaim has seen the album given the kudos and acclaim it deserves. Their follow-up, White Light/White Heat, got great reception but, after splitting with Nico and artist Andy Warhol; they wanted to create better albums sales and fewer controversies. Nothing compares to the influence and original spirit of their debut – another album that has had an immeasurable impact on modern music.

Ramones – Ramones (1976)

Again, many might tussle against the assumption a band like Ramones peaked on their debut. Their first four albums are all exceptional and faultless but there is something extra-special about the eponymous debut. The fact it came first and, in my mind, contains stronger songs, means it is the finer record. The band barely recorded a sub-standard record in their career but there was nothing to rival the first four years of their career – before they headed into the 1980s and saw a slight dip in impact. Ramones created a simple and direct album that addressed drug abuse, relationships and the far-right – songs that rallied whilst others went straight for the groin. The fact there are few adornments made the album connect with critics and the public easily. Great Punk albums would follow – The Clash’s London Calling in 1979, for one – but this is the spearhead and godfather that showed their peers how it should be done. British bands like Sex Pistols were listening closely as, one year after Ramones was released, they put out Never Mind the Bollocks, Here's the Sex Pistols. It is clear what an effect Ramones’ debut has and how it helped define and shape the Punk movement.

Oasis – Definitely Maybe (1994)

What’s the Story (Morning Glory)? is a classic Oasis album but, in terms of its timeliness and impact; I feel Definitely Maybe is their peak. Released in 1994, at a time when huge bands like Blur and Radiohead (and Pulp) were coming to prominence; there was something refreshing and direct about Oasis. The Northern, working-class equivalent of Blur – closer to Pulp, in that sense – the Gallagher brothers-led band penned a classic in Definitely Maybe. Tracks like Live Forever gave hope to a generation and became a festival anthem. The album reflected the voice of the youth: those with few stresses and the need to embrace everything in life. Supersonic, Cigarettes & Alcohol and Slide Away are remarkable songs that, like all great tracks, have not aged or lost their edge. Oasis, as we know, fell victim to the tensions between Liam and Noel and were unable to sustain the pace and genius of their first two tracks. What’s the Story (Morning Glory)? marked a confident and consistent step from the band but it is Definitely Maybe that announced them to the world - and proved the equal (or superior rival) to Blur’s Parklife.

Norah Jones – Come Away with Me (2002)

Norah Jones might not be everyone’s cup of tea but there are few that can deny the place Come Away with Me  holds in music. An alluring and sophisticated batch of Jazz-Pop songs that highlighted an incredible voice and accomplished songwriter. Gentle and serene throughout – its mood and personality do not alter much through the record – proved popular with many but it was the standout song, Don’t Know Why, that everyone remembers. Day Breaks, Jones’ album released last year, marked a slight return-to-form (following a fallow period) but she never matched the beauty and soothe of her incredible debut album.

Dizzee Rascal – Boy in da Corner (2003)

There are strange comparisons between Dizzee Rascal and Norah Jones. Dizzee Rascal’s Boy in Da Corner arrived a year after Jones’ debut: his current album, a year after her latest (Raskit was released a few weeks back). Both peaked on their debut album but that is where the similarities end. London’s Dizzee Rascal created a Grime classic on his initial outing. A teenager at the time of its release: the record displayed slick and impassioned raps; incredible wordplay and consistently confident performances. There was a period – before Raskit; after Showtime – where Dizzee started to lose his edge and identity. Too many collaborators going into the mix; themes moving away from the manor and more needless profanity. He has regained his Grime crown this year - but Raskit cannot begin to capture the same majesty and brilliance of Boy in da Corner.

Weezer – Weezer (1994)

Weezer put out their eleventh album, Pacific Daydream, later this year and it is going to be another exciting release from the American band. They are a group that, in my mind, provided their best work right at the start of their career. Pinkerton, the sophomore album, gained some negative reviews – getting retrospective acclaim and appreciation – but it was their eponymous debut (or their ‘Blue Album’) that provided those rich vignettes (from Rivers Cuomo) about video games and Kiss posters; self-depreciating wit and classic standouts – Buddy Holly has become their signature tune. In a year (1994) that produced more classic albums than any other year: it is a compliment to say Weezer ranks alongside the finest of them.

The Doors – The Doors (1967)

Again, like 1994: 1967 was not short of incredible albums. The Doors arrived on the scene and were like nothing else out there. The poetry and sexuality of Jim Morrison; the incredible fusion of Jazz and Rock – a band that was solid and exceptional right from the off. It is hard to believe a single album contains so many world-class and famous songs. Light My Fire, The End and Break on Through (To the Other Side) are a trio of examples. Future albums like Strange Days proved popular but there was nothing that gained the same sort of love and adulation as The Doors. The raw vocals of Jim Morrison and the incredible performance-connection of Ray Manzarek, Robby Krieger and John Densmore was a unique brew that made every song absolutely essential.

Pearl Jam – Ten (1991)

One could say Nirvana never topped their debut, Nevermind, but I feel In Utero is its better. There is no doubt Pearl Jam’s Ten is the summation of their career – and arrived right at the start of their career. The 1991-release contained pearls in Jeremy, Black and Even Flow; Alive Oceans and Porch. It is a Hard-Rock classic that arrived at a time when Grunge was taking hold. Eddie Vedder’s powerhouse vocals and impressionistic lyrics differed from a lot of what was out there. Singers like Kurt Cobain went for more scorched and unsophisticated vocals; lyrics that were more direct and unambiguous. Vedder’s semi-operatic delivery raised the songs to new levels and, in Ten, helped create a 1990s masterpiece. One of the strongest and most talented bands of that era: the Seattle band went on to release some fine albums but nothing lived up to the standard and brilliance of Ten.

The xx – xx (2009)

I See You is the recent, Mercury-nominated album from the incredible trio. Many would say their latest album matches their debut but nothing can quite equal the beauty and unexpectedness of xx. It was released in 2009 and found few like-minded records at the time. Romy Madley Croft, Oliver Sim and Jamie Smith showed an incredible chemistry and connection that made their dreamy, near-flawless Pop songs shine. An unconventional and truly original album; xx saw many new bands copy the xx and throw the same elements into their music. The reason I See You is not as impactful is, because, the xx, to avoid repeating themselves, have changed their sound – the fact so many ape them means they cannot replicate the same sounds as heard on their debut. Whilst they continue to make music of the highest order: they hit a rich, gorgeous and rare vein on xx.

Supergrass – I Should Coco (1995)

The same way Ramones amazed with a stripped-down and simple album: Supergrass burst into music with a direct and uncomplicated album - that still managed to throw in musical sophistication. Their key tune, Alright, became a summer anthem and one of the essential Britpop gems. Caught by the Fuzz, Lenny and Mansize Rooster are epic and rousing – showing how the band could create Rock and Pop songs that differed from anything out there. The boys would go on to create sensational albums like In It for the Money and Supergrass - but it is their first flourish that really stands the test of time. It arrived at a time when the likes of Oasis and Blur were tussling for chart superiority. The cheeky chaps were unconcerned with getting involved and provided the world with an album that could match the quality of Blur and Oasis - but didn’t have to compete with the same levels of stress and media attention.

Patti Smith – Horses (1975)

If one has to mark out the debut that betters the remaining body of work: maybe Patti Smith’s Horses is the quintessential example. Of course, she went on to produce some world-class albums but such was the standard and quality of Horses that it washes everything away. Even in 1975; Rock had not encountered anyone quite like Patti Smith - one could argue Joni Mitchell had the same impact on Folk. Placing prominence on words and delivery; the poet-cum-musicians turned the art-form into something new and incredibly vivid. Her reinterpretation and elongation of Van Morrison’s Gloria opens the album – it is split into two parts: the first, she wrote and the second is a more traditional cover of Morrison’s song – but songs like Free Money and Birdland are incredible works. Smith is someone who continues to write music and there is that undeniable passion and dedication to her work. One listens to Horses and it is an aural experience that gets into the mind and takes your imagination somewhere truly wonderful.

ABC - The Lexicon of Love (1982)

A New-Wave/Pop masterpiece of the 1980s saw ABC arrive in music with something elegant, sophisticated and emotive. The album went against the plastic and manufactured nature of a lot of the day’s music and created something more natural, symphonic and honest. Martin Fry’s stunning voice and personal lyrics gave one a window into an enigmatic singer wrestling with relationships and their meaning. The Look of Love (Part One) – no parts two and three, you’ll notice – is a classic track of the 1980s. Poison Arrow is no slouch - and the entire album has a solidity and consistency that hit critics hard. Many place it among their favourite records of the decade. The Lexicon of Love has inspired bands and songwriters since 1982.

Guns N’ Roses – Appetite for Destruction (1987)

In 1987; Appetite for Destruction became the biggest-selling debut album ever. It has sold over thirty-million copies and remains the finest record by Guns N’ Roses. The guys are currently touring and it appears there might be new material in the future. To be fair, it is going to pale in significance compared with their epic and astonishing debut. Slash’s explosive and sensational guitar work perfectly matches Axl Rose’s dark and sexual lyrics. The album was vital because it helped shepherd away from the Hair Metal bands of the time to a more credible option. Guns N’ Roses were in no mood to prance on stage and perform cheesy ‘anthems’. They were a gritty and hardcore proposition with coruscating riffs, incredible strings-percussion unity and some of the most impassioned vocals in the world. Appetite for Destruction is one of the finest albums from the 1980s and remains the apex of Guns N’ Roses eventful career.

FEATURE: New Rules: The Singles Chart in 2017

FEATURE:

 

New Rules:  

IN THIS PHOTO: Dua Lipa/PHOTO CREDIT: OfficialCharts.com/REXShutterstock 

The Singles Chart in 2017

________

THE first part of the feature’s title refers to the song…

by Dua Lipa that sits at number one in the charts. It is notable because it is the first British female number-one since Adele’s Hello claimed the spot back in 2015. The charts are announced weekly and have only seen two female artists in two years reach number-one. Metro assessed the news like this:

“Not only has she shot to the top of the charts and received a well earned number one, she’s the first UK solo female to hit the top spot since Adele’s Hello in 2015. That, quite frankly, is mind-boggling.

Little Mix were the only women to score a number one in that time – other than that, the charts have been dominated by male artists.

Hopefully Dua’s achievement marks a change in the tide.

The likes of Justin Bieber, Shawn Mendes, Zayn’s breakout solo single Pillow Talk and James Arthur’s comeback all dominated the charts last year.

Dua Lipa, 21, has broken that trend, having also garnered 108 million views for the video for her chart-topping track”

There are cynics that could view that as a reflection on the quality of Lipa as an artist. That sounds like an odd sentence but is it the case that her album has hit minds and hearts at a very precise moment – rather than an indication regarding a change in the air. I have written many pieces about equality in music and the need to effect change and evolutions. Dua Lipa is an artist that has a very fresh and urgent sound but, in many ways, seems perfect for the charts and mainstream – in the sense she knows what has come before and how to add her own personality to it. She is a very vivacious and warm artist; someone who engages with her fans and has a very grounded personality. She is undeniably beautiful and attractive and, in an age where there is a lot of talk about sexual exploitation and sexuality.

She is not someone who wants to bare flesh to get streaming figures and video views high – she is an artist who shows pride and defiance; using her beauty as a form of expression and empowerment. The fact she has hit number one has been received with a mixture of congratulations and condemnation. The former, because the young artist has achieved something wonderful and wholly expected. Her eponymous album has been one of the surprises of 2017. Where Pop albums by Katy Perry and Kesha have been met with mixed reviews: Dua Lipa has managed to seduce critics and win hearts with her blend of fiery summer-ready jams and sweaty-inducing anthems. Her songs assess relationships and gender roles; the need to win a sense of independence and go out into the world on her own terms.

IN THIS PHOTO: Adele/PHOTO CREDIT: Vogue

New Rules seems ironic and wholly appropriate given the rare honour Dua Lipa has been afforded – the chance to, not only inspire more female artists to claim the same prize, but raise questions about how the charts are regulated and run. Despite the fact there are co-writers and various producers on Dua Lipa’s debut: critics have noted how strong and memorable her voice is and how the songs get into the brain and demand repeated listening. One should not be shocked to see Lipa get to number one but, considering this is the seventh release from her debut album, why did it take so long?! It is not her fault but is New Rules a stronger song than, say, Hotter than Hell, Be the One or Blow Your Mind (Mwah)? Those songs are the equal of New Rules so it seems strange they did not get to number-one – and makes one wonder why her latest single managed to get to the top spot. The component of her lyrics – self-empowerment, sex and rising about the fray – have resonated with a generation seeking a genuine and promising artist.

There is no denying the potency and attractiveness of Dua Lipa’s music but one could argue she should have hit the number-one position a lot sooner – many British female peers deserved that same success since Adele in 2015. The fact the charts are so male-dominated makes me wonder whether more needs to be done. There are no more men in music than there are women – maybe a few more men here and there – but, in two years, why would we only have one British woman claiming a spot at the top of our charts?! I know there have been American successes but, if one looks at a month-by-month rundown of the charts, it is male-dominated and genre-specific. There are a lot of Pop and Dance number-ones and it makes one wonder why genres like Folk, Hip-Hop and Soul are not quite as well-represented as more mainstream tastes. There have been stories we have all reacted to. Ed Sheeran, very recently, saw many of his songs in the charts because of the relevance of streaming – counting towards the totals which meant, because his music was streamed more than other artists, he saw his tracks get comfy in the charts.

Before I go on; a look at the new guidelines introduced and why they have come into effect.

“The changes are designed to ensure the chart continues to be a showcase for the new hits and talent which are the lifeblood of UK music.

The key change will be to allow artists to have only their 3 most popular tracks (based on sales and streams) to feature in the Official Singles Chart Top 100.

The move will make it easier for new hits and artists to feature in the chart by preventing multiple tracks from popular artists dominating the singles chart. The move will minimise double-counting of album tracks between the Official Singles and Albums Charts and make the two charts more distinct. The new changes are expected to boost the number of chart hits by around 10%.

 IN THIS PHOTO: Ed Sheeran

In the past 12 months, artists including Drake, Stormzy, Kendrick Lamar, Chainsmokers, Little Mix, The Weeknd and Ed Sheeran have had multiple tracks in the Top 40. The changes will limit the domination of such artists, with streaming of tracks (as music fans listen to their favourite albums) spilling over into the singles chart.

The most high profile example of this came in February when all 16 tracks from Ed Sheeran’s Divide album featured in the Top 20.

An additional adjustment will see the introduction of a new streaming ratio for older tracks which are well past their peak and in steep, prolonged decline.

The aim of both changes will be to support new talent, giving new hits the freedom to progress up the chart, without being inhibited by older tracks which have passed their peak, or album tracks by big name artists.

In recent years, streaming has grown dramatically as the consumer’s favoured way of accessing music – from around 600m audio streams a week in January 2016 to 1.2bn a week today. As a result, streaming’s share of the singles market has grown to more than 80%

While this represents a revolution in choice for music fans – with 40m tracks available to stream across a wide range of services at different price points, alongside traditional music purchase – it has also changed the music landscape and the consumption reflected by the Official Singles Chart”.

Calvin Harris, before Dua Lipa, held the number one spot and marks a depressingly familiar pattern. He, with guest vocals from the likes of Rihanna, penned a rather generic and predictable Dance track that needlessly stuffed guest spots – to make it more popular and stream-able – but, once heard, falls out your back-end within minutes. There was no shock to see him go to number-one but, a few days later, when Dua Lipa hit the top of the charts with a superior offering, it was groundbreaking and shocking.

IN THIS PHOTO: Calvin Harris

Her song got there by its quality and popularity but it showed the charts is more keyed towards a certain style and gender – not as open and quality-driven as once it was. I am old enough to remember the days when people actually bought singles – think the last one I purchased was, tragically, Madison Avenue’s 1990s banger, Don’t Call Me Baby. I used to love scuttling down to HMV – Our Price existed back in the 1990s, too – and snapping up something that cost a few quid. As unwieldy as it is to have a pile of singles festooning a C.D. rack; there was something noble and worthwhile knowing you had contributed to a process. Because of you, and several thousand others, you were the reason an artist went to the summit of the charts. Not only that but, because you had a pile of C.D. lying around, you would play them again and enjoy them long after they were released. I am baffled why they stopped releasing physical singles – they have albums on C.D. so why not singles?! – and go entirely digital.

That is where the downfall has come in! I appreciate the fact it is a more open and equitable chart than once was. Back, years ago, you were in the charts because you had a record deal. Now, an unsigned act can make it in. The fact charts reflect digital downloads means, in theory, The Beatles and Kate Bush could still get into the charts. That might seem rather pointless but it means older music is more visible to younger generations – who might have otherwise forgotten about it. Given the fact Ed Sheeran – the man who helped spark the change in chart guidelines – has been derided because of his Mercury Prize nomination has given many critics pause for thought. We can questions whether award shows are reflecting the true quality of music: is the charts culpable of celebrating the most commercial and least impressive?

I can safely say that none of my favourite singles from this or last year have made it anywhere near the top of the singles charts. My tastes, if I do so myself, are impeccable so it would not be far-fetched were one or two of those tracks to make it to number-one, no?! There are those that would argue the charts, for many years, have been redundant and unimportant. To an extent, I agree, but they are a portal and port-of-call for many who want to discover the ‘best’ of new music. Dua Lipa’s success reflects an anomaly, of sorts. How long do we have to wait until another British female artist gets a number-one?! Rather fittingly; the lack of female British number-ones are taking the piss. The only way we are going to ensure the finest music is preserved and promoted by new generations is to have a look at the way the charts are run. I do not follow them at all – irrelevant and anarchic as they have become – but worry that there are many who do stick with them and get all their new music from there. A couple of articles, written over the past couple of years, ask whether the charts are still relevant in a streaming age.

The BBC spoke with songwriter Billie Marten, who had this to say:

"And Spotify are really helping me out by putting my music onto playlists. They're really exploiting that in a great way. I'm really thankful for that because I think, otherwise, people wouldn't listen."

Indeed, curated "new music" playlists on services like Spotify, Apple Music, Deezer and Google Play could be the key to breaking the chart gridlock - although there is some concern that these playlists are programmed globally, potentially putting UK artists at a disadvantage.

Arctic Monkeys manager Ian McAndrew agrees: "In my experience, streaming serves as a platform through which music is being discovered. So while it may distort the charts, it serves as an access point for new music, and I think that's got to be a good thing."

Perhaps it means the charts are becoming irrelevant - at least as the gold standard of success. Bands now look at ticket sales, or engagement on social media as indicators of their reach and impact. And those are the things, rather than hit singles, which traditionally sustain careers.

PHOTO CREDIT: Unsplash

The Guardian’s Kitty Empire, back in 2015, explored it from a new angle:

“More pop change is afoot. From July, singles and albums will no longer come out on Monday in the UK, but on Friday – a move that will bring worldwide release dates into harmony. After more than 40 years on Sunday nights, BBC Radio 1’s chart show, to be hosted by Greg James, will move to Friday evening, from 4pm to 6pm. Not only that – as of 10 May, kids’ TV channel CBBC will play host to The Official Chart Show, a magazine programme studded with videos and gossip, and hosted by Cel Spellman, a successor, of sorts, to the much-missed Top of the Pops.

With charts as accurate as they have ever been, both the top 40 and what you might call chart-watching as a national pastime are now under scrutiny. The move to CBBC speaks volumes about the need to hook a younger audience into consuming pop in ways an older audience would recognise. (Quite how young that audience might be was slightly misunderstood by NME recently, who weighed in with jokes about Rastamouse, a show on CBeebies, the channel aimed at pre-schoolers).

PHOTO CREDIT: Unsplash

Thanks to the internet’s endlessly personalisable technologies – YouTube channels, streaming, you-name-it-on-demand – pop has been at the forefront of a seismic change in listening. The past couple of years has seen Radio 1 lose millions of listeners as it attempts to retune to a younger audience. Much has been written about this decline in broadcasting, where many once witnessed the same thing at the same time, and the rise of what we do now: stacking up podcasts, Sky+-ing content and streaming the latest obscure remixes on Soundcloud, as and when. “Narrowcasting” describes the endlessly niche way in which we watch and listen. With everyone off doing their own thing – especially the young – what is the role of the mainstream charts and, indeed, of mainstream chart shows, in this age of fragmented, bespoke consumption? Our young interviewees, stopped and quizzed in Camden last week – not a scientific sample but reflecting a range of ages and tastes – seem to point to the charts’ redundancy, certainly as a tastemaking exercise. But is it telling that more than one commented on the rise of a rock band, Royal Blood, to No 1 as being significant?”

Maybe music has become more of an album’s game but it seems, given the fact so many artists lust over big Spotify streams and YouTube figures – is it simply the case we are refusing to follow the charts and buying the music we want – rather than be guided by something many consider arbitrary and homogenised? It is not the case music has modernised to the extent the charts are archaic and out-of-touch. The fact they are not all-encompassing and fundamentally flawed have made them seem far less relevant over the past few years. I am not willing to accept we abandon the charts and simply make our own minds up. The charts are not a way for people to be annoyed: it is for artists to see their songs acknowledged and given proper dues. In an age of streaming where we do not provide feedback or thanks: the singles charts is a way of getting that recognition and approval.

PHOTO CREDIT: Unsplash

I argue passionately again the assumption, as some see fit, the charts have not been popular or purposeful since the 1960s. I think, in an age where we want something quick and unquestioning: it is worth addressing the charts and restructuring it in a way that means it regains its importance. I listened to the charts through the 1990s and early part of the last decade. I always looked forward to seeing whether a song I purchased has made it into the top-ten. Now, we go to Spotify or wherever and get a song we want and that is the end of that. The fact physical sales are being replaced is another tragedy – one that will have to wait for another day – but we are taking far less care with music. The album charts are still relevant so why should music be quantified by mass rather than quality? The fact an album is made is down to the fact an artist has a collection of songs – do we simply release an album and ignore the individual songs that go onto it?! You can’t bring an album out without releasing singles and seeing how well the songs do.

The more we ignore old ways and embrace technology and the digital: the more music starts to lose humanity and relevance. We are buying fewer albums than we do digitally; buying more albums than singles and choosing to stream for free – rather than pay for our music. Artists are not being compensated fairly and there is a great divide between the artists of Spotify and the mainstream-heavy charts. Given these inalienable facts; can we argue, with any judiciousness, claim we should scrap the charts and see music slip further into the tar-pit?! I propose we retain the singles and album charts and make the ins-and-outs less pugnacious, controversial and complicated. Keep the new rules as they are – to ensure no artist can have more than a set number of tracks on the charts. Keep the streaming element but ensure guidelines are introduced to ensure the charts reflect gender and genre.

IMAGE CREDIT: Freepik

We cannot have so few females getting to number-one and genres like Dance and Pop stealing focus from other avenues. Albums sales should be part of the equation and, maybe, compartmentalising the charts into various genres, perhaps? There are so many great artists who do not have a record deal and do not have the advantage of Spotify promotion and success. I review so many acts that have their music on SoundCloud, BandCamp and Spotify and, while not getting as many streams as the bigger acts, create better music. There need to be other considerations aside from streaming figures as it does not reflect quality and diversity. Many people stream a song because it is trending or fashionable. There are great acts gigging around the country and those who release great songs to the world – to see them get modest success and viewing figures. It is a complex brew and one that will not be settled soon.

PHOTO CREDIT: Unsplash

I think the charts need to survive and grow as they are responsible for music lasting and inspiring this long. If we scrapped the singles charts back in the 1960s, it would have enticed fewer musicians to the world and led to a much more ignorant and poor scene. The fact we have evolved too far and abandoned the physicality and heritage of music means we are weakening its structure and compromising its rich history and legacy. There are so many different and great acts out there: all of whom deserve a chance to battle it out on the singles charts. Artists should not be making the news because of their gender: they should be doing so because of the quality of their music. Dua Lipa is a woman and an exceptional artist but, one wonders, why it took the buying public so long to get her to number-one. She is not the only British female artist who has warranted a number-one. The fact artists like Billie Marten see Spotify alone as more relevant than the charts might stem from a lack of confidence – the fact she would not get a high chart position and many of her fans would not follow the charts. That is sad to hear but, sadly, a sign of our times.

PHOTO CREDIT: Unsplash

The more we allow digital streaming services to rule our purchasing and listening habits; the less relevant and unified music will be as a whole. I dread the day we abandon albums as a physical form and get all of our music via Spotify. The singles charts is an institution that has remained for decades and can regain the importance it had decades ago. We need to take a pragmatic and progressive approach to a side of music that is fading away and being broken apart. As I said; the new generations need to be taught where music came from and the industry is eclectic, equal and fascinating. If we create a singles chart that reflects a gender and racial quality; recognises the importance of all genres and artists. Dua Lipa’s news-making number-one single has opened a lot of eyes but sparked debates. Many will see this achievement as an argument the charts are outdated and irrelevant – rather than the fact she takes heart from that number-one and many artists like her value it hugely. With some thought and activation, the charts can get back on an even footing. Let’s ensure the singles chart makes history for…

THE right reasons!

FEATURE: Originality in Contemporary Music

FEATURE: 

PHOTO CREDIT: Unsplash  

Originality in Contemporary Music

________

THE Go-Between says the past "is a foreign country"…

PHOTO CREDIT: Pinterest

but, with our nation keen to separate itself from other lands; it seems ironic there is a greater internationalism in music. I will drop the analogy as it seems to be leading us in the wrong direction but my point concerns originality and pushing music forward. One of the reasons I am bringing this up is because there seems to be a lot of new artists coming in who seem unconcerned distinguishing themselves from the pack. That has always been the case but I have found, when listening to various singers/bands; I often confuse them for another. That is not me being old needing to un-wax my ears: there are so many artists that are indistinguishable from one another. I listen to new artists like Phoebe Bridgers and, whilst her lyrics are unique, the vocals can be compared with our very-own – she is American – Lucy Rose and Billie Marten. Other musicians tread too carefully and closely to familiar sounds.

IN THIS PHOTO: Phoebe Bridgers/PHOTO CREDIT: Morgan Martinez of Hooligan Mag

I wonder whether the sheer number of artists out there means it is becoming harder to forge something unique? There is an argument that certain genres are culpable. Modern Pop music is split between those primed for the charts and the ‘outsiders’ who have mainstream potential but not need confine themselves to the generic and commercial. A couple of articles – published back in 2015 – raised reasons why a lot of modern music, especially Pop, lacks distinction and originality. The first looked at generic pitfalls and why music is being dumbed-down:

“A new study, surveying more than 500,000 albums, shows simplicity sells best across all music genres. As something becomes popular, it necessarily dumbs down and becomes more formulaic. So if you're wondering why the top 10 features two Meghan Trainor songs that sound exactly the same and two Taylor Swift songs that sound exactly the same, scientists think they finally have the answer.

The study: In a recent study, researchers from the Medical University of Vienna in Austria studied 15 genres and 374 subgenres. They rated the genre's complexity over time — measured by researchers in purely quantitative aspects, such as timbre and acoustical variations — and compared that to the genre's sales. They found that in nearly every case, as genres increase in popularity, they also become more generic.

 PHOTO CREDIT: Unsplash  

"This can be interpreted," the researchers write, "as music becoming increasingly formulaic in terms of instrumentation under increasing sales numbers due to a tendency to popularize music styles with low variety and musicians with similar skills."

So music all starts simplifying and sounding similar. Not only that, but complexity actually starts turning people off of musical styles. Alternative rock, experimental and hip-hop music are all more complex now than when they began, and each has seen their sales plummet. Startlingly few genres have retained high levels of musical complexity over their histories, according to the researchers. And ones that have — folk, folk rock and experimental music — aren't exactly big earners. Unless, of course, they fit into the Mumford & Sons/Lumineers pop-folk mold”.

Another piece examined how cheap recording devices and the increase of electronic influence resulted in a rather homogenised and stale scene:

“Ever wonder why you find yourself constantly asking “why do all these songs sound the same?” Because they do. The emphasis is no longer on music theory or the ability to read and comprehend music, but to lazily rely on the same programmed machines that inevitably see each of its users repurposing the same sounds over and over and over. This is best exemplified by a recent Facebook post from indie-electronic rock project, RAC, who explains “the proliferation of cheaper recording devices and marketing tools has blown off the doors to the music industry.” The post continues, “Any kid with a laptop can build an empire with an internet connection. More artists means more competition, which means the product has less value.”

This isn’t to say that great music can’t be produced using the technological advances bestowed upon today’s bedroom “musicians” but at what point do we completely and utterly lose the human element in music? The human error that highlights the beauty of artistic imperfection. With The Prodigy recently telling Rolling Stone the current EDM climate is “lazy” and “monotonous,” one has to ask: where do we go from here? Electronic artists like Porter Robinson, Disclosure, Duke Dumont and Gorgon City, among others, are spearheading the current push for a live element when performing – not only because fans are demanding it, but they too are afflicted by the scene’s growing stagnant artistry”.

PHOTO CREDIT: Macworld

As I said; there are two sides to Pop: the big-stream-hunting artists who are more rigid and less imaginative with their music. Others, like Lana Del Rey and Lorde, for example, represent a more credible and ambitious approach to Pop – if one truly classes them as ‘Pop’. I find a lot of Electronic/Pop music gets a bad reputation because there does seem to be a set formula. If a song/artist has a success with a song; others, seeing that, try to reproduce that for their own music – assuming little endeavor and going for something easy. Maybe it is a generational thing – I will return to this – but, in terms of sounds, it is not only Pop artists who come across samey. Rock and Alternative have not been in the best shape.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

This year, hotly-tipped albums from The Amazons and Royal Blood have left many, myself included, a bit miffed. Those albums, which could have been groundbreaking releases, did not really live up to the hype. Royal Blood’s How Did We Get So Dark? was a rehash of their debut album – albeit, with one or two additions. The Amazons’ eponymous debut seems to be a by-the-numbers approach to Rock – one that left me wondering where the originators and pioneers were. Maybe there was, in those cases, a desire to fit into a particular mindset – knowing other bands have had success and done well. I am seeing more and more Rock bands, in the mainstream, disappoint and not really show any originality. A fair few underground acts seem promising but, if they look at the current ‘best’ and see how they are doing things – are they inclined to abandon their own dynamic and go with what seems ‘popular’ and established. There is ample evidence to suggest the new breed might produce a few treasures but, when it comes to the mainstream Rock acts; why is there a surfeit of excitement?

IN THIS PHOTO: Lana Del Rey

A recent article by Forbes shed some light:

“There’s tangible proof of what people are listening to right now, and rock 'n' roll ain’t it. I make this evaluation based on the Billboard Hot 100 and Spotify Global charts as both commercial evaluations of songs and indicators of cultural impact.

Let's look at 2016 for example. According to the Nielsen year-end report, Drake's Views set an all-time record for most streams from an album, with over 245 million streams; there were 12 occurrences where an album’s songs had over 100 million audio streams in a week, led by Drake, J. Cole, The Weeknd and Beyoncé; Chance the Rapper had the first album to surpass 500,000 with streaming-only availability. Rock still does well in digital sales, but digital sales are declining.

PHOTO CREDIT: Unsplash

"Top 40 radio, which has always been for teenagers, is mostly devoted to post-rock pop and hip-hop. In 2016, rock is not teenage music," writes Bill Flanagan. "Rock is now where jazz was in the early 1980s. Its form is mostly fixed."

Those of us who grew up in the mold of rock are in a tough position, not just because the style we learned has become out of fashion, but because the skill set needed for pop music in 2017 has transformed into something radically different:

Songwriting is no longer words and music—but words, music and digital production.

Gone are the days of changing the world with three chords and the truth. Now you’ll need three chords, the truth, and an engineer’s ability to make your song sound like the radio. The most successful songwriter of our era, Max Martin, goes to work every day doing a very different job than Lennon-McCartney did”.

Maybe the proliferation of streaming sites and radio stations means we often hear the same songs repeatedly – ingraining it into the mind and not providing a true overview of music’s diversity and depth. When a new song is released and being promoted; we do get a lot of exposure to it. Does this repeated assault approach to marketing negatively impact and mean it is harder for musicians to follow their own course? I feel digital promotion and the easy accessibility of recording devices (and sounds) mean a lot more musicians are coming through.

IN THIS PHOTO: Brooke Baili

When one only got to the studio because they had a record label behind them; it meant quality control was tighter. Now, anyone can get a record made so it is harder to determine what is good and worthwhile. I feel the general oversaturation is flooding music. The more artists who come in the more likely we are to see repetition. One should never discourage artists from coming into music but we need to celebrate those who are truly worthy and impassioned. Artists like Brooke Baili and her new track, Louder, embrace infatuated but, in her lyrics and visuals – goes the extra-mile and provides originality and potential. There are artists in all genres that show nimbleness and new aspects. They can subvert the clichés and stereotypes to produce music of the highest caliber. In terms of the artists one needs to keep their eyes out for; in my mind, there are a couple of genres adding freshness to music – and the odd band that is worth attention. If one wants to intellectualise why there are restrictions of movement and expression in music – there is an article that explains things better than me:

“This is important because when one breaks down music to its most basic components, it becomes clear that originality is more limited than might be supposed. Steel comments that “the use of prescribed scales, keys and structures to fashion melodic lines gave rise to a listener’s dependency on Western tonality in order to make auditory sense of the sounds.” The result is a set of rhythms and melodies that can be often found across several songs in a genre or time, as audiences become used to specific combinations that are in fashion at the time. Steel argues that cultural experiences affect both the creative process and the consumption of music, and universal themes emerge during certain periods.

Given the extensive similarity of musical composition across an era, the originality requirement in copyright law becomes difficult to satisfy in musical works. Copyright protects the expression of an idea, not that idea. The problem is that many common elements in musical creation could be considered ideas if they are widely shared across compositions of a similar genre. To the untrained ear, all music of one genre sounds much the same, so it becomes the task of the trier of fact to try to draw the line of where a work has passed from using the ideas of a genre into the infringement of the expression of the ideas. Blurred lines, if you may. But drawing these lines is not the only challenge because judges and juries must also determine if the copying has been substantial, and therefore worthy of being declared copyright infringement”.

PHOTO CREDIT: Grovemade

How important is originality and is it – in the age where digital music and accessible music-making is suffocating – a possibility? Mainstream music is becoming more predictable than ever be there are a few bands at the moment, such as Glass Animals and Everything Everything that is able to convey unique sounds and keep their music likeable, if odd at times. Restrictions when it comes to sampling – and the stringent laws being imposed – is limiting the scope and possibility in genres like Hip-Hop and Rap. These are, to my mind, the natural leaders of the modern world and are providing truth and guidance. Maybe it is truth and plain-speaking missing in modern music. In an industry where there is too much reliance on love songs and marketable themes: those that address what is happening outside their own bedrooms are, oddly, a rarity.

IN THIS PHOTO: Kendrick Lamar

Of course, not all members of the Hip-Hop community are inspiring and pioneering. Over the last couple of years, it is hardly a surprise albums by Beyoncé and Kendrick Lamar have been ranked highest by critics – the former topped end-of-year lists with Lemonade (2016); Lamar amazed and ruled with 2015’s To Pimp a Butterfly. It seems Lamar’s current album, DAMN., might well scoop honours when the year’s best is revealed. Not only do these artists – and their finest peers – have attitude, passion and incredible songwriting ability: voices that resonate and strike; backed by compositions that mix in so many genres. To me, it is the lyrics and compositions that make genres like Hip-Hop and R&B so refreshing. Kendrick Lamar, in To Pimp a Butterfly, employed Jazz samples and the building blocks of an inspiring genre – something the likes of Loyle Carner are doing too. Soul, Rock and Alternative shades go into the albums (Beyoncé, Lamar etc.) and it seems there is a lot more flexibility and maneuver. Less concerned with instant three-minute hits or that processed sounds – the artists here are more bothered about texture, nuance and quality.

IN THIS PHOTO: Beyoncé

Perhaps it is too deep an issue to simplify in a single article but I worry there is a problem with originality and surprise. It has been a while since I have truly bonded with a new band. Often, I hear a debut album and am impressed but find, further down the line, things get regular and conformist. There is that modern-day pressure to be marketable and commercial – you can get the stream and big YouTube figures; only if you provide something fit for chart consumption. It is no surprise the genres that promote depth and directness are making a bigger impact than any other. It is not a binary thing to say Rap/Hip-Hop/R&B is right and everyone else is wrong – there are wonderful artists in Folk, Pop and Rock that deserve more respect. Perhaps there needs to be less concern with streaming counts and following the pack.

The flip-side is the comparative lack of monetary value and commercial appeal – a risk that many should take. The underground is proffering artists capable of kick-starting a mini-revolution but, looking at the current state of the mainstream, is it going to be easy to overhaul and sanitise? That is not for me to decide but, the fact so many artists are lasting only a short time means there is fear music is not a viable long-term career. The industry hasn’t changed radically in the sense those best and brightest have to fight harder – the sheer mass and proliferation of new artists make it tougher to easily discover the strongest artists. Maybe there is a long-term solution but we need to stop giving the mainstream such regard and cut those artists out that go for something easy and cynical. The ones that are only concerned with figures and profit; those who chase fame and something quite shallow. From there; highlight and celebrate the artists/genres that go out their way to be original and inspiring – I still feel Hip-Hop is seen as a niche and uncommercial brand. If we can make small changes it means the approaching generations think differently and have different aspirations. Driving away that need to be ‘successful’ – the wrong type – and go for respectability and true talent is what needs to happen first off. If we can get the ball rolling, and start to cut away at the fat, it means future-music will be…

PHOTO CREDIT: Pixabay

SOMETHING to be truly proud of.

FEATURE: Imagery in the Social Media Age

FEATURE: 

IMAGE CREDIT: Ysabel LeMay

 Imagery in the Social Media Age

________

I encounter so many artists on my travels who feel…

IN THIS PHOTO: Annabel Jones/PHOTO CREDIT: Pip

there is nothing problematic about having few images appear on their social media pages. The reason I wanted to bring this up is that, having so many interview requests, I have to turn down artists regularly. I am getting stricter at it for good reason: so much of what I do relies on imagery. Most of my interviews, at least, are long and require, I’d say, a minimum of eight images. That would fill any gaps and allow the piece to have a much more aesthetically-pleasing element to it. The image above – desperately trying to find a credit for it but will have to add one when it comes to light – shows what a difference an image can make to a piece. One might say music is an audio industry, where sound rules.

PHOTO CREDIT: Unsplash

Many others might say image and aesthetic are causing issues: too much flesh being bared or endless Instagram photos being shared to people – many of whom could not care less. I am happy to accept we have been flooded with photos as a generation. It is said more photos have been taken in the last few months than the rest of time combined. That might be a slight exaggeration but, since the advent of the Smartphone; everything is being snapped and shared for public consumption. There are downs and advantages of this flood in so much as people have access and view to parts of the world they might not normally have – able to connect with others in a different way, I guess. Of course, one must draw the line when it comes to what they post online. Lewd and inappropriate content will not be tolerated: those who photograph their entire day should be discouraged and chided. Given the fact one can, without expense, post countless photos of great quality, it makes me wonder: why are musicians not doing this?! I, myself, have a few self-portraits on my social media but have a reluctance to capture myself – a lack of photogenic appeal and the fact I tend to take photos of myself with no company (it can appear sad after a time).

IN THIS PHOTO: Billie Black

That said, I can go anywhere and have a photo taken via my iPad. From there, I can apply filters and share it with the world – it costs nothing and, before you know it, I can have an entire photoshoot on my pages. I feel photographer is an industry that needs support and welfare. I mention this topic because there are many who feel music photography is a dying industry. A 2015-piece,  by photographer Pat Graham, shared his experiences:

“Sadly most of us in the world of art cannot afford to just share what we create without receiving anything in compensation or return for what we have created. This just means that all of us must be very creative and think of other ways to gain income through other activities. As for music photographers I think it’s very rare that one becomes a music photographer and remains the music photographer until the day they die. For more reasons than one. My work is based in music photography and that is what inspired me to want to be a photographer. I still enjoy music photography, and I do receive some income from these jobs, however it would never be enough to live on solely, and I think it would be very rare to find anyone being able to live off that on its own. Most people are of course helped out by working with related fashion brands or doing corporate jobs and that is what pays the bills.

If you look back at what people call great music photography a lot of it is based on pictures of bands before they were famous, or at very small venues when no one else knew what was happening. So to go back to the original statement I definitely think that we have not lost a whole generation of talent in music photographers. The most exciting music photography features young bands doing new things and usually the photographers taking pictures of young bands are also young and very excited by what they’re seeing. I think the last thing they’re thinking about is a paycheck at the end of the gig in somebody’s house.

PHOTO CREDIT: Pixabay

When I first started taking pictures of bands I never really thought of it as a career. I never thought about how I could make money or sustain myself by taking pictures of bands. I was obsessed with getting a great photo and being able to print that photo in a dark room the next day. My pursuit was of great music and performers who really had something to say in their actions and music. I was driven by photographing bands that gave me and the audience something to look at. Something I wanted to freeze in a moment so I could remember and also share with others”

There is a clear passion among photographers and, when writing a feature about the best music photographers at the moment; I was struck by the quality and beauty of their shots. Maybe digital methods (Smartphones etc.) have made photographers less necessary – people able to produce their own pictures for nothing. There is something to be said about the traditional and established methods. One gets a better quality image and takes a band/artist to an interesting location. I find a lot of the self-produced photos lack atmosphere and compositional nuance. One does not see the same attention and depth you’d get from a professional. It makes me wonder why the good-old music photographer is seen as less relevant? Maybe there is the cost associated: artists not able to make enough money to afford photoshoots. There is an interesting article that sheds light on how costs are calculated:

IN THIS PHOTO: Polo/PHOTO CREDIT: Ben Bentley

Charge by the Shoot

This is the strategy that most band photographers use when they first start charging for their services, because it's easy and straightforward for everyone involved. There aren't any surprises or hidden fees, which keeps the client happy, and your bookkeeping work on the back end is minimal.

However, the simplicity of this pricing strategy is also it's biggest weakness, because it doesn't give you a whole lot of flexibility for situations where things don't go exactly as planned.  Like when your scheduled 3-hour shoot ends up going twice as long because the drummer shows up an hour late, the guitar player wants to change shirts 13 times, and the lead singer can't decide which is his "good side".

Or what happens when an up-and-coming band suddenly catches the attention of an indie label, gets a recording contract, and now they want you to retouch twice as many images as originally planned (plus design an album cover)?  Do you create an awkward situation by trying to negotiate a new agreement after the fact, or do you just cut your losses?

IN THIS PHOTO: Photographer Nabil Elder/PHOTO CREDIT: Jaesung Lee

With all of that said, I do still use the "Charge by the Shoot" pricing strategy when I'm being hired to shoot a band's live show-- even though I fully understand that concerts rarely start and end on time.  The main reason is that it's tough to make much money shooting live music photography, so I really only view those types of gigs as a means to an end.

In other words, I'll usually only shoot a band's live show as a way to get to know them better, and then hopefully parlay that relationship into a promotional shoot at some point (for more detail on this strategy, check out my eBook entitled Shoot for the Stars).

So in a nutshell, the "Charge by the Shoot" pricing strategy is okay for situations where you're reasonably confident that you'll be fairly compensated for your time and effort.  But if you think there's a high likelihood of "unforeseen circumstances" cropping up, then you'll probably want to use....

Itemized

This pricing strategy offers the best protection against getting ripped off, because you can basically put a price on just about everything you do for a client.  In other words, all of the time that you would normally spend--  from preparation, to shooting, to retouching (and beyond)--  can be broken out into separate line items on your invoice, right alongside any physical (or digital) goods that you deliver to the client. Everything is spelled out in plain sight, so there should be absolutely no surprises at the end of the process.

Even better, many clients really appreciate this approach because it provides total transparency, and it helps them to budget accordingly. They'll take comfort in the reassurance that they won't get hit with a barrage of hidden charges when they least expect it.

IN THIS PHOTO: Los Angeles trio, The Vim Dicta

That is quite business-like but it shows there is an affordable option for anyone’s needs. I feel photography is an industry that is threatened by the ever-present domination the ‘Instagram Generation’.  A fascinating article by Eric Perret shows how many photos we’ll be uploading this year:

“How many digital photos will be taken in 2017?  It’s predicted there will be 7.5 billion people in the world in 2017, and about 5 billion of them will have a mobile phone. Let’s say roughly 80% of those phones have a built-in camera: around 4 billion people. And let’s say they take 10 photos per day – that’s 3,650 photos per year, per person. That adds up to more than 14 trillion photos annually (14,600,000,000,000). Much more conservatively, if only one billion people have cameras or phones, and take less than 3 photos per day/1,000 pictures per year, that’s still 1 trillion photos captured every year.

How many digital photos will be taken in 2017?

InfoTrends’ most recent worldwide image capture forecast takes this conservative route, estimating consumers will take 1.1 trillion photos worldwide in 2016. This number will grow to 1.2 trillion photos in 2017. The compound annual growth rate (CAGR) from 2016 to 2017 will be 9%”.

I bring in these statistics; because there is a clear sign that shows we are becoming less physical/tangible and more disconnected. Maybe the expance and development of technology mean our curiosities and wanderlust are being indulged – we are able to encapsulate and represent more of our world than ever before. Because of this; I wonder what excuse there is for musicians being so naïve?! I am not singling people out but I see so many promising artists that put a few photos on social media – some are poor-quality whilst there might be two or three half-decent ones. Those that take the trouble to put a range of photos on their social media/official website know it is a way of attracting people to your website. Photoshoots allow artists a chance to express themselves and capture some wonderful images. I get frustrated hearing musicians say they let their sounds do all the talking: why do we need to bother with photos? I look at it the same way you’d set up a dating profile. How likely are you going to contact someone with no image – or a few poor ones that you can barely make out?!

IN THIS PHOTO: Jake Mattison/PHOTO CREDIT: Pip

Music is no different to dating: you are selling yourself, to an extent, and trying to attract people in. It doesn’t matter how good your personality/music is: if one is greeted to an imageless profile; they are not going to be that interested. There is no financial or physical reason an artist cannot have images made up. Those that have a full and thorough spread always make the mouth water – I understand they are in the minority. It seems there is not a link between our obsession with photographing everything and professional duty. I see musicians – those without good images – take plenty for their own profiles but do not show that diligence when it comes to their music pages.

IN THIS PHOTO: Stray from the Path/PHOTO CREDIT: Thomas Brooker

I will end this because I am aware it is turning into a ‘constructive rant’. It seems strange that, in an age where we are photographing the internal details and external manifestations of our day: so many musicians are ignoring a fundamental necessity of their career – promoting themselves through a visual medium. It might not be feasible for an artist to get some great photos together right from the start – they are shy of money and unsure what image they want to project. Once you are sure enough to have an idea – excuse the jumbled grammar! – then you’ll be ready to take some images. So many are providing a scarcity of anything vaguely useable! I think Metal bands, for some reason, seem to be the worst offenders. They may take a lot of shots but they, with few exceptions, tend to be blurry or inferior – maybe that scrappiness and under-cooked look suit their musical ethos and rebelliousness.

IN THIS PHOTO: Femme/PHOTO CREDIT: Ben Bentley

If you are a young female singer or a great male band: getting a range of photos out there is paramount! All the bands/artists I have included in this feature (their images) have provided a selection of images for any potential fan/journalist. People like me, who wants to interview and review the best artists, are like moths to the lightbulb. We all want to see the face(s) behind the music – having that visual anonymity is frustrating for so many reasons! Again, like a dating profile; everyone will skip by if there are no photos. My reviews and interviews are quite deep so, to fill gaps and give it a good look; I do need to insert images. Not only does it flesh a piece out but makes it look professional and interesting – not only words and a block of text. Many musicians do not realise the effect they cause being ignorant of that desire. I am turning away more and more artists who do not ‘fit the bill’; bollocking P.R. companies who bring me acts ill-equipped and ignorant. That, in turn, means I am sour and sceptical of the new generation of musicians. There are a lot of exceptions: many hungry artists provide stunning images and plenty of choice. The same way original music and ambitious is key to success and attention – making yourself visible and photographed is equally essential. I will end it here but want to urge offending artists of the need for change. For all musicians coming through who think the music will do ‘all the talking’, believe me… it won’t.

IN THIS PHOTO: The Novellos/PHOTO CREDIT: Pip

Paul McCartney and Kate Bush are better than you and, funny enough, they have produced, between them, numerous images. Hot new acts such as Royal Blood crank out some stunning images and realise it is important; not only to give their fans a diary of what they are up to – provide journalists options and that visual allure. I am not a massive fan of Royal Blood’s music but, given the fact they are image-heavy, would interview them just to have those photos on my site. It should be a lesson to every musician but I fear so many are naïve about photos – thinking it does not make a difference. It does and, if they rely on the music to do all of the talking; they will find the remainder of their career will be…

IN THIS PHOTO: Hinds/PHOTO CREDIT: Ben Bentley

VERY quiet indeed.