FEATURE: All the World’s a Stage: The Great (and Rather Misjudged) Examples of Actors Turning to Music

FEATURE:

 

 

All the World’s a Stage

IN THIS PHOTO: Jeff Goldblum (who has just released an album with The Mildred Snitzer Orchestra called The Capitol Studios Sessions)/PHOTO CREDIT: Pari Dukovic/Getty Images  

The Great (and Rather Misjudged) Examples of Actors Turning to Music

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A certain Jeff Goldblum is on my mind…

IMAGE CREDIT: Getty Images 

and it is impossible to ignore his charm and pure allure! The man, as tall and imposing as he can seem, is that lovable figure that we cannot get over and ignore. I am not a huge buff regarding his films but have, of course, seen him in the Jurassic Park films and Independence Day. The man, rather unexpectedly, is a skilled musician (the piano especially) and has just released, with The Mildred Snitzer Orchestra, The Capitol Studios Sessions. NME, in this hot interview they conducted with him, talked to the man himself about the L.P. The interviewer tries to drill down to the nub of ‘Jeff Goldblum’ and what he encapsulates:

“I’ve been trying to put my finger on exactly what Jeff Goldbluminess is ever since I listened to his debut album, ‘The Capitol Studios Sessions’. It’s a collection of jazz standards, some of which you’ll know – ‘My Baby Just Cares For Me’, ‘I Wish I Knew (How It Would Feel To Be Free)’ – and some you probably won’t. For the last few decades, Goldblum has been playing low-key jazz nights in Los Angeles with his band, the Mildred Snitzer Orchestra. Then, in October last year, he happened to be booked on The Graham Norton Show on the same day as Gregory Porter. Goldblum volunteered to accompany Porter on piano, someone at Decca Records saw it, flew to LA to see Goldblum play his regular Wednesday night gig at the Rockwell in Los Feliz, and just like that Goldblum found himself with a record deal. “I never thought of making an album, really,” he says, sincerely. “It’s all taken me by surprise.”

IN THIS PHOTO: Sarah Silverman (who appears on Jeff Golblum & The Mildred Snitzer Orchestra’s album, The Capitol Studios Sessions)/PHOTO CREDIT: Glamour

The collection does see interjections/vocals from Goldblum but, in terms of the vocals/singers; control and spotlight is handed over to people as wide-ranging as Sarah Silverman and Imelda May. With The Mildred Snitzer Orchestra; the songs through the album are accomplished and pleasant. NME described it perfectly:

“It’s the kind of album you want to play at a dinner party, which, for me, means I’ll first have to become the sort of person who organises dinner parties. It makes me want to cook for people, just so that I can do that sort of half-dance around the kitchen when you’re cooking and listening to music and sliding drawers closed with a nudge of your bum. What I’m trying to say is that listening to Jeff Goldblum’s album makes me want to be a better man. It makes me want to be suaver, more sophisticated, more like, well, Jeff Goldblum.

At the age of 14 he did something so wildly precocious that it looks now like an early example of nascent Jeff Goldbluminess. He locked himself in the family study with a copy of the Yellow Pages, and he rang up every local cocktail lounge he could find. When they answered, he would announce, in the most adult voice he could muster: “I understand you’re looking for a piano player.”

“Most of them said: ‘Who is this? We don’t even have a piano!’” he remembers. “But some of them said: ‘Not really, but we do have a piano. Do you want to come down and play it?’ So I got a couple of jobs. I was too young to be in a bar, of course, but I stuck to my task. My parents drove me to one place, and then there was a girl singer or two that I remember latching on to – without being yet, as you know ‘active’ – but just magically in proximity...

These were showbusiness girls! They said: ‘Sure, you play and I’ll drive us to the gig.’ So I accompanied some singers, much like today.”

That was the first seed of what would become the Mildred Snitzer Orchestra. Snitzer herself was a friend of Goldblum’s mother, whose name he remembered fondly years later when he came to form his band. On YouTube you can see an interview with the sprightly centenarian in which she recalls young Jeff being “very upset” that he wasn’t accepted into the local drama school, Carnegie Mellon. She credits her brother-in-law, a talent agent named Lou Snitzer, with suggesting to Goldblum that he chase his dream to New York”.

Although a lot of people will turn their noses up at an actor recording an album and calling it a vanity project; you can tell this is pure passion and something Goldblum is not doing for the sake of it. Music runs in his blood and the man took to the piano before he was ever known as an actor. The disciplines and skills he has acquired from acting – modifying himself to tackle different roles and being able to inhabit someone else – are brought into the music and bring the songs alive. I have heard the album and think it is a great thing.

It is great fun to hear Goldblum and the musicians have a ball and bring something magical out. Reviews have been largely positive and Riff Magazine have provided their impressions:

“On The Capitol Studios Sessions, Goldblum turns the studio into a sophisticated club. He captures the warmness and personality of a live big band jazz performance while maintaining studio quality instrumental and vocal performances.

Much in the way Steve Martin has warmed up his audience to the world of bluegrass, Jeff Goldblum has built a not-so-secret second career of making jazz digestible to film fans.

What he and the Mildred Snitzer Orchestra have made here can be appreciated by jazz veterans and casual listeners alike. Much of that has to do with the credibility of performers like singer-songwriter Imelda May and jazz trumpeter Till Brönner.

Goldblum remains in the spotlight, singing from behind the piano. Listeners will get a taste of an authentic concert experience—from the compelling banter he includes with the entertainers he features, such as comedian Sarah Silverman.

After sitting with the hour-long album, listeners can walk away feeling as if they just received a crash course in the essential jazz Real Book—made accessible by that curious quirky attractiveness that can only be supplied by Jeff Goldblum himself”.

Jeff Goldblum is not the only actor/successful figure who has taken traditional standards and existing songs and made them their own. One could be rather snobbish regarding an actor making an album but Goldblum’s knowledge, passion and natural flair brings everything vividly into life.

Hugh Laurie, one would have thought, could not step from the acting stage to the musical one but, as he showed with Let Them Talk and Didn’t It Rain; he can take older Blues cuts and make them sound fresh and personal. Reviews for both albums (in 2011 and 2013 respectively) ranged from positive to mixed but, as a fan of Laurie’s work, I found the albums accessible and easy to understand. I am not a big Blues fan but was able to get behind Laurie’s performances and dive into that world. I would argue that, in the case of Goldblum and Laurie, they have managed to make certain styles of music more accessible to those who would overlook them normally. Each performer has their own approach to the piano and compositions but each leaves a lasting impression. I would argue Goldblum is a more charismatic performer whilst Laurie is more studied pianist and a better singer. In each case, people have been dismissive because they feel acting is where they should be – do we need actors getting into music?! Someone else who has managed to take classic songs and make them his own is Seth MacFarlane. The Family Guy creator has recorded four albums: his last, In Full Swing (2017), took songs written by the likes of Irvine Berlin and George and Ira Gershwin and MacFarlane gave them his inimitable style and sense of swagger! A wonderful vocalist and performer – a cross between Frank Sinatra, Dean Martin and the legends of Swing – it was natural he would step into music.

We know MacFarlane for his comedy and directing but, as a performer, he excels and has that natural gravitas and talent. It is always the way actors get a hard ride when they bring out albums but I have listed a few actors/comedians who have stepped into specific worlds and could have fallen flat – instead, they have triumphed and impressed critics and fans. I guess, like I said, aspects of acting and comedy is involved in music. There is that natural link between performance worlds and being able to bring something physical, character-based and chameleon-like into music. Maybe there is a science behind it but actors like Goldblum, Laurie and MacFarlane can easily transport themselves into music and sound completely in the zone. Not all attempts at actors transforming into music are a raging success. This article from The Guardian focuses on Ben Stiller’s band, Capital Punishment, and why, as he says, the 1980s group were weirdos.

“Ben Stiller erupts in laughter. No, he says, down the phone from New York, he really didn’t expect to be giving an interview on this subject in 2018. It wasn’t that he forgot about the album he made with a band called Capital Punishment while at high school in 1981. He had a box of unsold vinyl copies in his house, and he would occasionally fish one out and play it to his kids. “They would really get a kick out of it; they thought it was pretty funny.” He mentioned it during an interview on the Tonight Show a few years back and the host, Jimmy Fallon, played a track, much to the hilarity of the studio audience...

IN THIS PHOTO: Ben Stiller with his band, Capital Punishment, in 2018/PHOTO CREDIT: Getty Images 

The band broke up when its members went to college, and Stiller says he never really had any further musical ambitions. The closest he got was while employed as a PA for a film-maker working on a documentary about Foreigner. “I was at a studio, helping with equipment while Lou Gramm was recording the lead vocal for I Want to Know What Love Is. He went to the bathroom, and I got in front of the microphone and started pretending to sing. He walked back in and said: ‘Hey man, you look pretty good there.’ I had a brief moment where I thought: ‘This would be really cool to do.’”

He says he was “sceptical” when he heard about Sniper’s plan to rerelease the album. In fact, it had developed a minor cult following among collectors (an original copy will set you back $200 on Discogs), but was bowled over by his enthusiasm: Sniper told Roebling that his own band, Blank Dogs, had recorded music inspired by the tracks on Roadkill”.

As much as I love Ben Stiller’s work and all he has given to acting; the music on Roadkill is not going to last in the memory and I truly hope the band do not make more material and leave music as a hobby. There have been some disastrous examples of music being somewhat tarnished by an acting entering that world! I will end by naming a couple of actresses who have succeeded in music – and a female musician who has excelled in acting – but there have plenty of faulted and naff attempts at a music career…

 IN THIS PHOTO: Kevin Costner on stage as part of Kevin Costner & Modern West/PHOTO CREDIT: Getty Images

Whether you see them as side-projects or fulfilling a passion, there have been many examples of actors bringing their music to the public – one wishes they shouldn’t have done. Since 2007; Kevin Costner has been performing with his own Country-Rock band, Kevin Costner & Modern West. The band have released four albums and, whilst it is interesting to see Costner in a new guise; the music is reserved, I feel, to those who like Country. That is a polite way of saying it is not able to appeal to all and, let’s be fair, Costner is probably better at acting! Although Kevin Bacon is a great actor and has been on the screen for decades; his music work with The Bacon Brothers is pretty average (at best). He has been in the band since the mid-1990s and it is another case of the music not being that striking. I don’t think Bacon feels the music will be loved by everyone and I can appreciate him pursuing a passion. It is, unfortunately, another case of an actor being best suited to the career we all know them for. The same can be said of Bruce Willis. His ‘Soul’ album, The Return of Bruno, is a dreadful thing and I have not managed to get through the whole thing. As guitarist for Hollywood Vampires; Johnny Depp has that music side-line and has been kicking around in music for a while. Alongside Aerosmith’s Joe Perry and Alice Cooper; the songs are not that bad but they are not going to trouble the best out there. Depp is a decent enough guitarist but the band themselves are no as formidable a force as their combined reputations would suggest.

Perhaps the most famous actor-turned-musician is Jared Leto. You might know him from films like Fight Club but this Oscar-winning star has been the lead of Thirty Seconds to Mars since the late-1990s. The band has released a series of albums and their latest, April’s AMERICA, was met with acclaim. The album has a political edge and is more diverse and genre-hopping than their previous albums. They document technology takeover and violence and, whilst there is confidence and standout moments, it is another album that has good moments but does not last that long in the mind. Although Leto is a fine actor; I find his vocals grating and the music of Thirty Seconds to Music has that Arena-Rock feel – it can get crowds chanting but there is not the substance and memorability you’d like. Other rather lamentable attempts at actors launching music career include Russell Crowe releasing music with the band, 30 Odd Foot of Grunts, until 2005 (they broke up, thankfully) and Jeff Bridges – although his 2011 album, Jeff Bridges, gained some good reviews and created some excitement. Whilst there have been some tragic actors-turned-musicians, Ryan Gosling, Jamie Foxx; and Michael Cera (who wowed with the solo album, True That, in 2014) show people should not have preconceptions and prejudices. It is not always actors who step into music and can prove a surprise: Lady Gaga, starring alongside Bradley Cooper in A Star Is Born, stunned with her acting ability and natural presence. Not only did Lady Gaga stun critics and make a huge impression but Cooper has shown he has quite a musical talent.

 IN THIS PHOTO: Lady Gaga attends the SAG-AFTRA Foundation's 3rd Annual Patron of the Artists Awards at the Wallis Annenberg Center for the Performing Arts on 8th November, 2018 in Beverly Hills, California/PHOTO CREDIT: Charley Gallay/Getty Images for SAG-AFTRA Foundation

There have been other musicians who have stepped into acting without much trouble but there are few big success stories when the reverse has been true – few long-lasting musical careers from actors, alas. In a lot of cases, actors often tackle other people’s songs and it can be hard for anyone to gain success and traction doing that, let alone an actor. The few that have written original material – like Jared Leto – have had mixed fortunes but it is a shame more actors do not take to music. If you look at Scarlett Johansson and how her music has been received, she is one of those naturals. When she released an album of Tom Waits covers (four songs written by Waits and six by Waits and his wife Kathleen Brennan) in 2008, Anywhere I Lay My Head, there were a lot of critics keen to heap praise on the actor. In 2009, she collaborated with Peter Bjorn on Break Up and showed another side. The songs were inspired by Serge Gainsbourg’s duets with Brigitte Bardot and, again, gained some great reviews. Johansson, in 2015, formed a band called the Singles with Este Haim from HAIM; Holly Miranda, Kendra Morris and Julia Haltigan. Johansson’s incredible acting abilities and smoky voice have made her a respectable figure in music and she has a natural ability. Critics will always heap criticism on actors who step into music, as I have said, and that is the case with Johansson.

Although the likes of Jeff Goldblum and Jared Leto have scored better reviews; Johansson has proven herself to be an intriguing, talented and multi-faceted singer who does not need to listen to any criticism. Another famous actor who has succeeded in music is Zooey Deschanel. Formed with M. Ward, She & Him shows Deschanel is a fantastic and compelling singer-songwriter whose music can touch millions. It is hard to categorise the duo but I guess you could call their music Indie-Pop/Indie-Folk. She & Him might be the most successful and enduring case of an actor becoming a musician. She & Him’s first album, Volume One, was a success and gained some great reviews – such as this one from AllMusic:

“The occasional whistle here or slightly unconventional string arrangement there are the only traces of his usual artistry on Volume One. The rest of the time he and the band (which includes the ubiquitous Mike Mogis) create a soft, gentle feel equally inspired by the Brill Building and the Countrypolitan sound of Nashville in the late '50s. The only place the album falters is on the two covers the duo attempts. Deschanel doesn't add much to "You Really Got a Hold on Me," and Ward's backing vocals are just the kind of affected, arch singing she avoids elsewhere. Their take on the Beatles' "I Should Have Known Better" is better, but still awfully close to a novelty. The album would have been more successful without both tracks, but even with them, it stands as a nice coming out party for Deschanel. If you run screaming at the thought of singing actresses, give She & Him a chance and they might calm your fears. You may even forget the origins of the singer and simply be charmed by the singing, the songs, and the sounds found on Volume One”.

 IMAGE CREDIT: Getty Images

The duo have released six albums so far – 2016’s Christmas Party is the latest – and I hope there are many more records to come from Ward and Deschanel. Volume 3, released in 2013, had some covers on its but most of the tracks were written by Zooey Deschanel. She is a talented songwriter and lead and, as critics have shown, is that rare occasion when an actor can easily step into music and write their own material. I have highlighted Jeff Goldblum and mentioned actors like Hugh Laurie but Deschanel is keen to write her own stuff and not just do cover versions.

Jenny Lewis, I guess, is the only other actor I can think of who has managed to forge her own identity in music. As part of Rilo Kiley, Jenny & Johnny and Nice As Fuck; she has proven herself to be an exceptional artist whose music differs vastly from that of Zooey Deschanel. I forgot to mention another Lewis, Juliette, who is planning another album with her band, Juliette and the Licks. Jenny Lewis, as a solo artist, shines brightest in my mind. Her 2014 album, The Voyager, gained some great reviews and shows she is able to step into different guises – either solo or as a band – and succeed. Since 1999’s The Initial Friend with Rilo Kiley; Lewis has been able to prove herself as a musician and show that actors can make a successful music career.

 IN THIS PHOTO: Jenny Lewis on day two of Governors Ball on 7th June, 2014 on Randall's Island in New York City/PHOTO CREDIT: Eric Ryan Anderson

The Voyager, as AllMusic show, is full of great music and incredible moments:

“Working primarily with producer Ryan Adams -- Beck comes aboard to give "Just One of the Guys" a narcotic sway, while Jenny collaborates with longtime partner Johnathan Rice on "Head Underwater" and "You Can't Outrun 'Em" -- Lewis indulges in the sunnier aspects of vintage yacht rock, occasionally dipping into the Laurel Canyon folk-rock she's specialized in on her own. Guitars roam wide-open spaces, couched in luxurious reverb and draped in strings; the rhythms often follow cool, steady eighth-note pulses; the surfaces always shimmer. It's such a sultry, soothing sound that it's easy to ignore the pain that lies beneath but that's a feature, not a bug: on The Voyager, Lewis' characters live for today without ever thinking that the world might pass them by, and having her music flow so smooth and easy, she illustrates how easy it is to get sucked into that alluring stasis”.

I have only touched the surface of the actor-turned-musician world but, as Jeff Goldblum has an album out there; I felt it prudent to look at the ‘phenomenon’ and the rather mixed results. There have been some awful attempts – Bruce Willis and Ben Stiller – and some promising ones – Jeff Goldblum, Jared Leto and Seth MacFarlane – whilst Zooey Deschanel and Jenny Lewis have managed to showcase incredible songwriting chops and, one hopes, we will see new music from both of them next year. At the worst, an actor getting into music can be cringe-worthy but, in many cases, criticism and snob-like behaviour is premature and needless. I love Jeff Goldblum’s album, The Capitol Studios Sessions, but there are some who feel it is a step too far and a vanity venture. Regardless of what you think about the likes of Jeff Goldblum and Zooey Deschanel making albums and showing their passion for music; you cannot deny there is something wonderful and magical hearing these much-loved screen figures...

IN THIS PHOTO: Jeff Goldblum/PHOTO CREDIT: Pari Dukovic/Getty Images

STEPPING into music.  

FEATURE: No Prizes for Guessing... Why It Is Time for an All-Inclusive, Definitive Music Award Ceremony

FEATURE:

 

 

No Prizes for Guessing...

IN THIS PHOTO: Jorja Smith (who won the Critics’ Choice Award at this year’s Brit Awards; in a year when the ceremony showed greatest diversity and recognition of artists outside of Pop/the mainstream but still struggled to completely escape that mould)/PHOTO CREDIT: Bella Howard for GQ

Why It Is Time for an All-Inclusive, Definitive Music Award Ceremony

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WHETHER you feel music awards are a valid and essential…

IN THIS PHOTO: Sam Smith, winner of Record of the Year and Song of the Year for Stay with Me, Best Pop Vocal Album for In the Lonely Hour and Best New Artist poses in the press room during The 57th Annual Grammy Awards at the STAPLES Center on 8th February. 2015 in Los Angeles, California/PHOTO CREDIT: Frazer Harrison/Getty Images 

dynamic of the music industry; many are of the same opinion: there are few ceremonies and options that provide that true credibility and unity. I am reading pieces regarding black artists who often do not get recognition beyond genre-specific - Grime and Rap, for example – awards and, when it comes to the mainstream options, how many minority artists are included? I guess it is improving and you are seeing artists like Stormzy and Cardi B getting nods and gongs. The Grammys has been criticised for its lack of racial inclusion regarding the top prizes. There are, again, efforts to be more inclusive and considered but it seems, for the most part, the biggest award shows are dominated by particular races and styles. Pop still rules the roost whereas Rock and Indie have taken a back-seat; the mainstream gets more of a say and there isn’t, in my mind, that award show that goes all the way and covers all the bases. You might say that award shows are all about hubris and ego; giving artists due and putting them in the spotlight. There is little point to recording music if there is not that chance of winning awards and having a special moment. Actors, as much as they’d say otherwise, would love to win an Oscar or BAFTA and, again, there is that talk of racial exclusion and imbalance. The work itself is good enough and real value comes in terms of influence and touching fans.

 IN THIS PHOTO: Katy Perry/PHOTO CREDIT: Getty Images

Awards are not the be all and end all of everything but, for most, it is something to work towards and can be more instructive and direct that critical exposure. If you want to know which album or artist is the best of the year; there is that sense of guideline and consensus. Regarding that last point; one of the issues that has come into voting and award shows is the accusations of rigging. Last year, Katy Perry came out and accused award shows of being fixed:

“Her openness is a huge part of her new on- and offstage persona, one that she’s been building ever since her political awakening in the fall, and has carried over into her subsequent musical endeavors. In a new profile for the New YorkTimes, Perry also shared some sharp comments on the music industry’s top honors that helped give her a platform.

“All the awards shows are fake,” she told the Times, “and all the awards that I’ve won are fake.” She continued on to call awards “constructs,” suggesting that they don’t have audiences’ true tastes in mind.

Perry has been the recipient of a litany of awards in her blockbuster pop career, including prizes from the American Music Awards, Billboard Music Awards, MTV Video Music Awards, People’s Choice Awards, Teen Choice Awards, and many more. She has not yet, however, nabbed a Grammy, although she performed “Chained to the Rhythm” at that show’s 2017 event”.

IMAGE CREDIT: Getty Images 

I recall the Grammys being accused of ignoring black artists and awarding artists with the biggest record label. You do wonder if there is a pre-arranged deal with the huge labels regarding their talent and giving them awards. I am not suggesting all award shows operate that way but most of the big winners are looked after by the major labels. Not only are accusations being levied at U.S. awards; here in the U.K., The Brit Awards have been accused of bias and problems:

“Despite celebratory moments, the 2018 BRITs came under scrutiny for a voting mishap regarding the award for British Video of the Year. On Twitter, popular British girl group Little Mix were winning by a landslide and were head to head with 3 former One Direction members. Until the very last second when the polls closed, Little Mix were still on the list as being at the #1 spot thus supposedly earning them the award.

After a few minutes, the winner was revealed to be Harry Styles and his video for Sign of the Times. Fans became outraged and some quickly posted multiple screenshots proving the girl groups’ win on Twitter.

This isn’t the first time the BRITs have been accused of rigging awards. Two decades ago when the Spice Girls were at the top and Spicemania was flourishing, the quintet lost the award for British Group to the Manic Street Preachers. The winner for British Group has been purely male-dominated since its inception back in 1977”.

IN THIS PHOTO: Kendrick Lamar (whose album, DAMN, missed out on the Album of the Year Grammy this year to Bruno Mars’ 24K Magic)/PHOTO CREDIT: Frazer Harrison/Getty Images  

I admit The Brit Awards is one of the few mainstream events that has diversified through the years. Recognising more women, black artists and broadening its genre scope; despite a few Pop-bias winners, it was a more eclectic and credible ceremony than in years previous. Away from the calls of label corruption and rigging; there are other considerations that need to be explored. The MOBOs are endangered because of lack of popularity/sponsorship and this has always been a place where black artists could get their dues and props. Look at the appeal of The Brit Awards and does it hold the same sway and controversy – the raucous and riotous getting into the press – as years past?! The Grammys have always faced criticism regarding genre-bias and ignoring true calibre; there are award shows for specific genres like Country and Grime but there is a lot of division. Look at something like The Oscars and you have this long night that recognises those behind the scenes and people that normally don’t make the red carpet press delirious. The Welsh Music Prize has just been awarded to Boy Azooga for the sensational 1,2, Kung Fu! The award show came about because of a lack of recognition for Welsh/Welsh-speaking artists and was discovered by Huw Stephens. Away from race, bias and language; there is always that thing regarding genre and how big award shows choose their nominees. This year’s Mercury Prize was won by Wolf Alice and, again, there were some shocked faces.

 IN THIS PHOTO: Wolf Alice (after winning the 2018 Mercury Prize for Visions of a Life)/PHOTO CREDIT: Getty Images

Another London-based winner – after Sampha won in 2017 -; their Visions of a Life album walked away with the prize. There were hopes Nadine Shah would win (a norther artist with Muslim heritage) but she was denied. Although it was not a commercial sell-out, there was the feeling the public favourite was denied. I have long-since stopped getting excited about The Brit Awards and Mercury build-up. I feel like there are some interesting possibilities but, too often, there are missed opportunities and oversights. The Mercury panel failed to shortlist any real Folk or Country acts; not a lot of Soul or R&B and, for the most part, there was some safety. The final part of the award ceremony issue is recognition underground/rising talent as opposed those who we all know about and have won awards before. Again, when you look at the Mercury Prize and wonder whether artists could have been left out – Lily Allen and Noel Gallagher – and others (such as Let’s Eat Grandma and Shame) included. There are always going to be unpopular decisions regarding nominees and the way awards go but I feel, too often, labels and panels are responsible. There are public-nominated music awards but most of what is dished out is decided by a narrow focus. Awards are a great incentive for artists and, when they come with a cash prize, it can give that extra boost for a new artist.

IN THIS PHOTO: Let’s Eat Grandma (who missed out on the shortlist for this year’s Mercury Prize for their album, I’m All Ears)/PHOTO CREDIT: Jenn Five  

Great albums and labels deserve gongs and it seems there are lots of big awards – all courting their fair share of criticism – and smaller shows that are underappreciated and under-funded. It seems like there is an easy option to overcome all the hurdles: get this one-for-all and inclusive award show that would allow public voting and less grumbling. It would be impossible to unite all genres and categories – as you’d be there all night – but, like the Academy Awards; maybe having more categories and giving things variation. You could have a special category for Welsh-language and Scotland; be more open-minded regarding black artists and what they bring to music and, when it comes to the best album of the year, have that public input. Either that or do genre-specific album prizes or have a tournament regarding voting – all albums are listed and they are whittled down to the final four/six on the night. Without having labels pulling strings and any accusations of rigging; it would be a chance for small labels to win awards and rising artists to get their due. You could have music video options and recognise producers, engineers and D.J.s. Not only could you include award shows – and artists from them – like the MOBOS and The Brit Awards (and the Grammys), but shine a light on upcoming artists who never get a look-in.

I feel like the BBC should lead an initiative like this and often wonder why BBC Radio 6 Music do not have their own award show. They could perfectly orchestrate an award show that cured the problems regarding genre, gender and racial exclusion. The American Music Awards were held recently and, as you can see from this BBC piece; the night was dominated by Pop and white artists. I feel like there is that appetite for music awards, and always will be, but too many are dogged by narrowness, commercialism and that desirable musical commodity: the clean and white artist. Are music award shows relevant and worth anything in this day and age?! I discovered an article from Vice that asked the question and looks at issues that are not only affecting the music industry but Hollywood:

“The award show season has long been caught in this odd cultural situation. People like Madonna—or Kevin Hart, or Tiffany Haddish—are often employed to orchestrate some online buzz, which likely couldn’t be achieved without them. Over the last few years, amid an aggressively declining viewership, award shows have struggled, and ultimately failed, to arrive at a fraction of the cultural importance they once had. (There was a time when just having a nomination was enough generate more revenue.) These efforts, admittedly, have been valiant: in late June, the Recording Academy opened its “General Field” category—which includes the Record, Song, and Album of the Year awards—from five to eight nominees; last month, Sandra Oh became the first Asian woman to be nominated for an Emmy as lead actress in a drama series; and recently, the Oscars announced it would introduce some 900 new members into the Academy to diversify its voting body...

PHOTO CREDIT: @landall/Unsplash 

But these measures have also, on the other hand, served to affirm the presence of a widening gap between art and commerce. The two leading films at the Oscars this year, The Shape of Water (which won Best Picture, Best Director, Best Score, and Best Production Design) and Three Billboards Outside Ebbing, Missouri (which won Best Actress and Best Supporting Actor) were certainly not the best films in the race. The former is, at its core, a conventional romance flick—one that can just barely pass, if you squint your eyes enough, as an allegory for something else. Its situation in the 1960s (and its use of a black woman custodian as a foil character) is all that gives it any political weight. And then there is Billboards, which is—to be polite—altogether an incredibly racist film.

For the most part, award shows, as Carrie Battan wrote last year, seem to exist for the sole purpose of reinforcing antiquated ideas of what art—in an era of ultimate sociopolitical turmoil and pandemonium—is supposed to be: polite, conventional, and, most importantly, white”.

One main contributor to the decline of award shows – with the likes of the MOBOs resting for a year – is that thing with oversaturation. There are so many music award options that you are only ever going to be interested in the odd one. With most people getting a bit tired of the variety of awards out there; is it now time to vanquish the smaller, more predictable options and assimilate into this all-conquering, all-inclusive option? Maybe it would still see people sigh but it would only be the ONE show – you’d sit through maybe a few hours or so – and you could bring in little bits of music documentaries; some great live performances and have this interactive, uncontroversial option.

 IN THIS PHOTO: Lady Leshurr at the 2016 MOBO Awards/PHOTO CREDIT: PA Images

It seems, quite rightly, there is a malaise and fatigue regarding award shows and the sheer number out there! The Guardian explored this earlier in the year:

 “With viewers switching off, is it any surprise that the Mobo organisation has cancelled this year’s bash, claiming to be “regrouping” for a better outing in 2019? Or that the Oscars’ organisers want to add a prize for “popular film” because low ratings must be down to plebeian viewers unable to comprehend a Churchill biopic, rather than because they put out a three-hour show, 70% of which is strangers thanking strangers.

If you are tiring of all these dos, you are not alone. The sheer number of ceremonies is causing something of a crisis in the tuxedo-wearing community. In the past year, viewing figures have been down for almost every big awards show, with the Oscars, Grammys and Video Music Awards all drawing some of their lowest audiences ever. Last week’s Emmys was supposed to be a chance for renewal, with Saturday Night Live producer Lorne Michaels drafted in to give the show razzle dazzle. In the end it was another ratings flop, and jokes bombed so badly it seemed as though the audience was taking part in a mass choral rendition of John Cage’s 4’33”. The only respite came from an onstage proposal from the winner of best director of a variety special. It was touching, but distracted from the fact that he was winning an Emmy for directing the Oscars. If award shows are, at the best of times, a circle jerk, surely the Emmys giving an Emmy to the Oscars is closer to one of Lennon and McCartney’s myopic self-pleasure sessions”.

PHOTO CREDIT: @elishavision/Unsplash 

Have a look here and you can see the sheer wealth and range of music award shows. You might not be able to accommodate everything and include everything into a single night but there is a great opportunity to provide something more diverse, quality-controlled and yet something that also recognises those often overlooked and cast aside. From British artists outside of London to women and black musicians; entire genres and getting the voting sorted so it is not influenced by big labels – there is a lot that can be done and I think, if done right, there would be this definitive and properly-god music award show! I would love to see it happen but it does not seem like anyone is initiating change and this evolution. Artists do not only make albums for fans and themselves: there is that desire to produce something exceptional and, alongside that, have it recognised through awards and celebration. That sort of boost and recognition gives impetus to others and for that band/artist; they are then spurred on and have that sense of achievement. I am seeing too many people ignored and entire sections of the music community being relegated or having to set up their own award shows. As we get used to the complaints regarding British award shows and the fixing of U.S. ones; the sheer dominance of white Pop artists; one has to ask whether this independent yet fierce opponent could give a home to everyone and be seen as this equal and reactive.

 IMAGE CREDIT: BBC/Getty Images

I would like to see this change and feel a big station/organisation like BBC Radio 6 Music could lead the charge. With events and initiatives like BBC Introducing providing special shows and discussions relating to various sides of music – how to get into the industry and how to deal with mental-health issues – it seems like the award show is at the other end of the spectrum. It is that peak where an artist can look back at their start and be acknowledged for something incredible. Given the very few award ceremonies that tend to please and unite music fans; I feel we need to make a change and bring that improvement. The award show would not demand people dress in fancy clobber and it would not be a chance for bigwigs and huge labels to clean up. It would be an impressive and diverse show that would help to reverse many of the problems existing and give recognition to artists who, normally, toil in anonymity. I am not sure which big music award show comes next but I am not holding my breath or getting too excited about it. I used to love so many aspects of music – including award shows and the charts – but that enthusiasm has waned. I have not given up on the music award ceremony and feel that, with an overhaul and this new inspiration, we could launch something that could please everyone and be free...

 IN THIS PHOTO: Adele was one of the big winners at the 2017 Grammys/PHOTO CREDIT: Getty Images

FROM controversy.  

INTERVIEW: Lucy Whittaker

INTERVIEW:

Lucy Whittaker

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WITH her single, Curious, out today…

I have been talking with Lucy Whittaker about the song and its inspirations; what is coming up for her in terms of gigs and material and what sort of music she responds to – including a few albums that are important to her.

Whittaker discusses her goals and how important it is being on stage; what her objectives are for next year and how she spends her time away from music – she chooses a great song to end the interview with.

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

I’m great, thank you! I’m having a good week – finalising release plans for Curious and finishing off the video. It’s an exciting time!

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

I’m Lucy Whittaker; a Pop artist from London. All you need to know about me is that I live with a dog with one eye.

Tell me about the single, Curious. What is the story behind the song?

To put it bluntly, the track is about stealing a girl off a boy - I’ll let you imagine how it all went down!

How do you think it differs to something like Who’s Gonna Know?

Curious is more lighthearted than Who’s Gonna Know. It still packs a punch, but I wanted to write something that felt more playful and cheeky. The track is fun but it has a deeper message - be true to who you are and enjoy it. 

Might we see more material next year? How far ahead are you looking?

Yes! I’m in the studio right now putting the finishing touches to my next two singles and there might be an E.P. on the way…

Do you recall your earliest musical memory? Which artist or song first struck your mind?

I have a vague memory of hitting pots and pans with wooden spoons when I was really young. I can't remember what I was jamming along to, but knowing my parents it was probably some Reggae or The Rolling Stones!

What do you hope to achieve by the end of 2018?

By the end of 2018, I want to have reached new people with my music. I’m really hoping that Curious will help me to build on the progress I’ve already made and push me a little bit further along in my career. I’m also planning on releasing some of my favourite covers on Spotify so people can hear something a bit different from me.

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

For me, it’s probably when I supported Craig David last Christmas. The event sold out and there were 15,000 people there. The atmosphere was like nothing I’ve ever experienced and to get up there and do my thing was the most amazing feeling.

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

This is such a tough question! I honestly can’t pick a definitive three - but some of the albums that spring to mind are:

Michael Jackson – Bad

Lady Gaga – The Fame Monster

Kendrick Lamar – good kid, m.A.A.d city

I really got into Michael Jackson’s music when I was twelve and it opened me up to music in a way I didn’t think was possible. To me, everything about his music is perfect and Bad is packed full of bangers. Lady Gaga played a big part in me accepting who I am. I have always loved how confident she is in her identity and how she portrays it through her music and The Fame Monster was released at a time when I needed it the most. good kid, m.A.Ad city is just banger after banger.

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

Lady Gaga. Her shows are mind-blowing and to be a part of that would be a dream come true. In terms of my rider, as long as I’ve got a plate of Caribbean food in front of me, I’m happy!

Might there be some gigs coming up this/next year?

There are some really exciting shows on the horizon in 2019, so keep your eyes peeled.

What advice would you give to new artists coming through?

Remember why you started making music and how it makes you feel. When things get tough, try and maintain a positive mindset and hold on to that feeling. Also, my number-one tip is to have good people around you who have your best interests at heart - they are the people who will cheer you on in your best moments and keep you going in the difficult ones. 

How important is it being on the stage and playing your music to the people?

So important! Playing live gives me a chance to connect with my fans and make some magic. No two shows are ever the same, so it’s always special to play live and share that experience with people. I feel like playing with my band really takes the tracks to a new level and gives people a new way of hearing my music.

 IN THIS PHOTO: Heir/PHOTO CREDIT: Portia Hunt

Are there any new artists you recommend we check out?

Heir and SaNTINO. They’re both from Leeds and great guys. Heir’s melody lines are amazing and SaNTINO’s music is the coolest around.

 IN THIS PHOTO: SaNTINO

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

Food! Cooking really chills me out.

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

Emily Burns – Cheat

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Follow Lucy Whittaker

Facebook:

https://www.facebook.com/LUCYWHITTAKERUK/

Twitter:

https://twitter.com/lucywhittakeruk

Instagram:

https://www.instagram.com/lucywhittakeruk/

Spotify:

https://open.spotify.com/artist/55v06TjyT2BQwlQf5exxQZ?si=pTQcSBynT4CFjNbgXCmpgA

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Molly Rainford 

An All-Female, Autumn-Ready Playlist (Vol. XVII)

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WE are moving more into autumn…

IN THIS PHOTO: Magnetic Heaven 

and the weather is getting cooler and less sure! I am excited for Christmas and the winter months but the weather is something that always gets to me. The shortening days and cooler nights are not great and the rain/wind is a problem; having to wrap up warmer and not being able to go out all of the time. Regardless of the iffy conditions and the darkening days; I have compiled a list of female-led tracks that should get the blood temperature raised and get inside the heart. It is a confident and eclectic mix that will get the heat going and provide plenty of comfort. Have a look at the playlist and I am sure there are some songs in there that will get you in the mood. Autumn might be here but, with great female-fronted music out there; it is never going to be a boring or quiet one. Take a listen, sit back and enjoy...

IN THIS PHOTO: Ari Lennox 

SOME fantastic tunes.  

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

____________

Jenn Morel - Kumbara

PHOTO CREDIT: Etienne Gilfillan

Lisa Knapp – Maria Marten

Moscow Apartment – Orange

Ari Lennox – Grampa

Emily Breeze – Limousines

Donna Missal – Skyline

Shayna Leigh – Justified

PHOTO CREDIT: @katrina_burgoyne

Lisa McHugh – Out of Heaven

Catherine McGrath – Wild (Acoustic)

PHOTO CREDIT: Chad Kamenshine

Elena Goddard – Wish U Weren’t Here

Kash Doll – Ice Me Out

Trina – Redemption

Ward Thomas – No Fooling Me

PHOTO CREDIT: Neelam Khan Vela

The Orielles – Bobbi’s Second World         

Magnetic Heaven – Feel It Right

Stacey Kaniuk – Give Up the Ghost

PHOTO CREDIT: @anthonyconwayphotography

Dani Sylvia – Love Me Good

Molly Rainford – I Like You

Lisa Ekdahl – More of the Good

Suzi Wu – Grim Reaper

Fightmilk – Your Girlfriend

Binky – Get Lost

Ashley Tisdale – Voices in My Head

Bryony Dunn – Monochrome

Emily King – Look at Me Now

PHOTO CREDIT: Angel Wade 

Clara Bond – I’m on Fire

PHOTO CREDIT: Ray Lego

Natalie Prass – Sisters

INTERVIEW: Daniel Isaiah

INTERVIEW:

Daniel Isaiah

___________

MY final interview of the day…

is with Daniel Isaiah who has been discussing his latest track, Javelin Fade, and what we can expect from his upcoming album, Only One Left. He discusses the personal highs and lows that influenced the songs and whether there are plans for gigs going forward.

I ask Isaiah what sort of music he is influenced by and which albums are important to him; whether there is an upcoming artist to watch and if he gets time to unwind outside of music – he selects a cool track to end the interview with.

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

My week has been good so far. I have a couple of shows coming up and I’ve been trying to figure out how to play the new songs live.

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

I’m a songwriter and filmmaker and occasional English teacher - and I spend most of my time in a little room in my apartment in Montreal playing guitar and piano, composing songs and writing screenplays. I’m about to release my third record as a ‘solo artist’.

Javelin Fade is your latest track. What is the story behind the track?

I found the chords in one sitting and recorded a demo right away. I didn’t have any lyrics though, so I just ad-libbed the vocal; words like “Rising in the fallout” rolled off the tongue. And so I imagined that I was traveling over the Earth and ‘the fallout’ was nuclear fallout - and I was witnessing the aftermath of total collapse - but it was over and there was nothing to worry about anymore.

I believe the album, Only One Left, was book-ended by the saddest and happiest days of your life. Was it a difficult period of your life to get through? How did they influence the music on the album?!

Well. My mother was sick when I started writing the new batch of songs. I wrote Till the Pictures Stop when she was in palliative care and it’s a depressing song, but it’s probably my favourite one on the album. About a month after my mom passed away, I started dating the woman who just recently became my wife. So, there was some light at the end of the tunnel. But there will be more tunnels! Maybe I’m better prepared for the next one.

You travelled extensively between those book-ended times. How important was it to get out into the world and away from home?

Travel is important to me. You travel and you see more. And the things you see become a part of you. I always have the impression when I’m traveling that time slows down. Whereas in Montreal, when I’m just doing my routine, the weeks pass by in a flash.

Did you grow up around a lot of music? Which artists did you follow at a young age?

When I was seven or eight, I would go to my dad’s house on the weekends and copy his C.D.s onto blank cassettes. One album that I liked a lot was The Beatles’ Please Please Me. My sister and I would put that one on and spin around in circles - which were as close to getting high as we could get in those days. There was another cassette I copied with ‘Fil Collins’ written on one side and Jennifer Warnes’ Famous Blue Raincoat written on the other. That was my introduction to the songs of Leonard Cohen. I loved them.

What do you hope to achieve by the end of 2018?

I want to finish a screenplay that I’m writing called Pink Lake.

Do you already have plans for 2019?

I’m hoping to shoot Pink Lake in March with a group of friends.

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

When I was twenty-years-old and living in Edinburgh, Scotland; a stranger in a park taught me how to Travis pick (fingerpicking technique). That was the best guitar lesson I ever had, on a sunny day, in the grass and I remember it fondly.

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

Something Else by The Kinks

It’s a beautiful album. There’s nothing else in the world like it.

Decade by Neil Young

It’s a long sprawling record with lots of great songs. It has kept me company for years.

Tupelo Honey by Van Morrison

I don’t know who the musicians are on that album but they’re the best.

What advice would you give to new artists coming through?

Learn how to record your own stuff. Try not to depend too much on other people.

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

Nov 21 at The Burdock (Toronto, ON) with Blunt Chunks

Nov 28 at Casa del Popolo (Montreal, QC) with Parker Shper

Feb 15 (2019) at Chasse Galerie (Lavaltrie, QC) with Thus Owls

That’s it for now!

PHOTO CREDIT: Year of Glad

Are there any new artists you recommend we check out?

Year of Glad from Montreal is quite good.

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

I read a lot. I like reading novels and history. Right now, I’m reading The Jewish War by Josephus. It’s a bit of a slog but I’m gonna stick with it.

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

Let’s hear Deseret by Cass McCombs

___________

Follow Daniel Isaiah

Official:

https://www.secretcityrecords.com/artists/daniel-isaiah

Facebook:

https://www.facebook.com/danisaiah/

Twitter:

https://twitter.com/DanIsaiah

Spotify:

https://open.spotify.com/artist/4aDuNE6LWkaBuXT43fA4P6?si=7g7TGKBkQimZD1gkks7mOQ

SoundCloud:

https://soundcloud.com/danielisaiah-1

PHOTOS:

James Rosen

INTERVIEW: Shoji

INTERVIEW:

Shoji

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THANKS to Shoji…

for telling me about their new single, Bliss, and how it came together. I was interested to know what sort of music drives them and whether there is more material coming next year; if they have plans before the end of the year and which one album is most important to each of them.

Josh and Alex talk about the music they grew up around and tell me how Shoji came together; if there are any rising artists we need to check out; how they chill away from music – they each select a great song to end the interview with.

__________

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

Good, thanks. Our week has been busy; we’ve been locked away in the studio writing new music.

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

We are a duo called Shoji (Alex and Josh).

How did Shoji get together? When did you meet?

We actually originally met at school but only started working together around three years ago. Shoji was formed last year but we have worked on projects together before then.

Bliss is your new track. Is there a story behind it?

The lyric, “Devil's acre”, is a metaphor for being stuck in a claustrophobic head space. The line came from a poetry book that Josh read and it immediately struck a chord. The contrast of the last line "I know I’ll stay as long as I feel bliss" plays with the idea of addiction and using vices to self-remedy. The track title, Bliss; we wanted to use as a contrast for the meaning of the lyrics to symbolise being in a dream state

Is there going to be more material coming next year do you think?

Absolutely. We are working towards an E.P. for early-2019!

Did you grow up around a lot of music as children? Which artists struck your ears?

Yes. We both grew up in musical families but in different ways.

Josh: I was always around music. My parents didn’t play instruments (my mum dabbled in piano); however, there was always music on around the house when I was growing up. I was brought up on The Beach Boys and Van Morrison.

Alex: My parents are both Classical musicians so I picked up the piano from an early age. Fleetwood Mac and Queen were also always on around the house.  

What do you hope to achieve by the end of 2018?

We are looking in to booking some shows so it would be nice to have some in place for 2019. 

In that same vein; do you have plans for 2019 in terms of what you want to accomplish? 

We are working towards releasing an E.P. and it would be great to play the festival circuit. 

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

Josh: The feeling when I finished my first album...

Alex: Playing Glastonbury.

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

We would love to support Mount Kimbie. We both have a pretty sweet tooth so our rider would probably just be sweet (only the blue M&Ms, please).

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

Josh: The Beach Boys - Pet Sounds

The sounds and songwriting on this album are incredible. I saw Brian Wilson play it in full; it was my first gig and it was what got me in to music properly. 

Alex:  Burial – Untrue

This album got me in to Electronic music in a massive way.

Can we see you on the road this year at all?

Not this year, but hopefully next! We are working on it.

What advice would you give to new artists coming through?

Don’t take yourself too seriously. Try not to compare yourself to others and KEEP GOING!

Are there any new artists you recommend we check out?

Bruno Major, joan; Khruangbin and Hatchie are all on our playlists at the moment.

 IN THIS PHOTO: Hatchie/PHOTO CREDIT: Sylvia Austin for Pitchfork

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

We both work full-time in music so it’s all we really do but when we unwind a good book or a walk never goes a miss.

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

Alex: Frank Ocean - White Ferrari

Josh: Noname - Diddy Bop

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Follow Shoji

Facebook:

https://www.facebook.com/Speaktoshoji/

Twitter:

https://twitter.com/speaktoshoji

Spotify:

https://open.spotify.com/artist/6mRKPevabInyibh7E9rrdB?si=P7xBuTrwTKyYz5QgnN9zgA

Instagram:

https://www.instagram.com/speaktoshoji/

SoundCloud:

https://soundcloud.com/speaktoshoji

INTERVIEW: Foreign Affairs

INTERVIEW:

Foreign Affairs

___________

BROTHERS Adam and Lawrence Purnell form Foreign Affairs…

and they have been talking with me about their new single, Faded, and what it is all about. I ask them what they have coming up and how their music has changed since the start; which rising artists we need to get behind – they each select an album that is important to them.

I was keen to learn whether there are plans for next year and if they are touring soon; if they share the same musical tastes and what advice they would give to musicians emerging – they each pick a song to end the album with.

__________

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

Great, thanks! Looking forward to the release of our new single on Friday!

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

We’re brothers Adam and Lawrence Purnell from Bristol. We’ve come together to form our Americana/Indie duo, ‘Foreign Affairs’.

Faded is the new single. What is the story behind it?

Faded felt like an ‘end of the world’-type song for us; it's one of reflection and writing about something bigger than day to day life - "I ain't been everywhere my friend/but I’ve seen the leaves fall of the trees, they grow back again". We wanted the opening line to suggest a growth and maturity of the band, like we'd been away for a while.

Might we see more material coming next year?

Faded is the first single from our forthcoming record, The Old Fire Station, which will be released on 30th November. We have already started writing/demoing songs for a full album release next year.

Do you share musical tastes? Which artists are important?

We definitely do. We were brought up listening to artists like Rodney Crowell, Divine Comedy and Richard Hawley; all of which are amazing songwriters. In recent years, we have aspired to the songwriting of Jason Isbell, Chris Stapleton but also a lot of artists outside of that scene, such as Leon Bridges, Nick Mulvey and Nathaniel Rateliff.

How do you think Foreign Affairs has evolved and changed since the start?

Our songwriting and sound has matured over time and, through touring extensively, we’ve had the time to explore and find the exact sound that we want to transfer onto our records. Both Adam and I now have a clear vision of exactly where we want to take our music which we think can only be achieved through trial and exploration.

What do you hope to achieve by the end of 2018?

By the end of 2018, we will have released our new record, The Old Fire Station. We are just so excited for our fans to finally have new music from us; that will be a great feeling. We have also been nominated as Duo of the Year by the British Country Music Association so we might have attained that accolade by then, who knows?

Do you already have plans for 2019?

We will be touring throughout the year along with a string of festival appearances in the summer; we have also already started writing/demoing songs for a full album release.

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

The first time we performed at Glastonbury is definitely a special moment that will stay with both of us. It felt like such a huge achievement to be stood on one of the stages at such a prestigious festival. Also, our first national radio play on BBC R2 was a proud moment.

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

Lawrence: Neil Young - Harvest Moon

It’s an album that I have been listening to for as long as I can remember. I always come back around to it regardless of how long it’s been. Never fails to take me away to another planet.

Adam: Rodney Crowell - The Houston Kid

The first record that my dad gave to me in my early teenage years; the songwriting and guitar tones were just stand out. A genre that I had previously not had any experience in; it had such an effect that I was later smuggled into the Bristol Bierkeller under-age to see Rodney play the record.

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

We would love to tour with Jackson Browne - that is someone that we could watch night after night and never get tired of his songs. We’d definitely pair that tour with some Brooklyn beer and gin and tonic (little slice of cucumber).

What advice would you give to new artists coming through?

Do whatever comes naturally and don’t force anything; it will always come through if the music is coming straight from the heart. Never give up and always remember to sort your parking permits! (Learn from us).

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

26th November - The Social (London)

We will be announcing our own headline tour shortly to coincide with the record release. (All details will be on our social media).

 IN THIS PHOTO: Jade Bird

Are there any new artists you recommend we check out?

Jade Bird, Ruston Kelly and Dermot Kennedy have been on-repeat for us, so we’ll go with those three!

 IN THIS PHOTO: Rushton Kelly

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

Adam goes and watches our local football team (Bristol Rovers) which seems to do it for him! (Each to their own).

I love going for breakfasts and coffee (best meal of the day). It’s the simple things!

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

Lawrence: Neil Young - Unknown Legend

Adam: Guy Clark - Rain in Durango

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Follow Foreign Affairs

Facebook:

https://www.facebook.com/foreignaffairsmusic/

Twitter:

https://twitter.com/affairsaffairs

Spotify:

https://open.spotify.com/artist/3lKfbaqRTWrGrrjwNG4dqR?si=wg0TVHnSQ7SiJGzlE2CM5w

Instagram:

https://www.instagram.com/foreignaffairs_band/

FEATURE: Love Thru a Lens: The Perils of High-Profile Relationships in Music

FEATURE:

 

 

Love Thru a Lens

IN THIS PHOTO: Cheryl in a promotional shot for her new single, Love Made Me Do It (out 09/11)/PHOTO CREDIT: Getty Images 

The Perils of High-Profile Relationships in Music

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THE reason I have chosen Cheryl…

IN THIS PHOTO: Cheryl (then Cheryl Fernandez-Versini) pictyred with Liam Payne in 2016/PHOTO CREDIT: Getty Images 

as a sort of ‘cover star’ is because she is making the news right now. Following her split with Liam Payne; it seems the days of dating are being put on the back burner:

“Cheryl has said her love life is "not happening any more" in her first interview since splitting with Liam Payne.

The former Girls Aloud singer is set to release new music on Friday and spoke to fellow musician Jessie Ware for her podcast Table Manners.

Cheryl said: "In business I know what I want, but in my romantic area I'm not as evolved - that area has stopped."

She also spoke about Bear, her 20-month-old son with Payne.

The artist formerly known as Cheryl Fernandez-Versini, Cole and Tweedy said: "I've got the man in my life now. I'm good."

The 35-year-old also spoke about releasing her first song in four years, Love Made Me Do It, which was written with her former Girls Aloud bandmate Nicola Roberts.

She was asked about her split from Payne and whether her new music – her latest single, Love Made Me Do It, is out tomorrow – was referencing him:

"All the music and the songs were done way before we split," she said.

"None of them are about anybody. That's the easiest thing you could write, it's such an easy headline.

"When I'm in a room, I'm not sat there with other writers thinking about somebody.

"We may talk about one subject and it comes out that way, but I wasn't writing a love poem to anybody."

The singer said she had taken a decision to change her life in recent years, saying she was "jaded and living in a negative space" after spending much of her life in the spotlight”.

Her name is Cheryl and she wants the brisket.
New Table Manners podcast episode with @CherylOfficial
-> https://t.co/EU60OiSP4b xx pic.twitter.com/vad9L3REyU

— Jessie Ware (@JessieWare) November 7, 2018

Whilst it seems some well-timed music will not do her commercial any harm – there is likely to be that extra intrigue regarding her new material – it seems the life of an artist is hard enough without bringing love into things. I know a lot of well-known musicians and figures who are in relationships with less-known (normal) people and there is not the same sort of intrigue and leering from the press. Even if you are someone like Ellie Goulding, Ed Sheeran or their like; there are not going to be the same amount of paparazzi at your door if you are dating someone quite ordinary – consider those high-profile bonds and how much more pressure comes with them. The same happens with actors. If you have two A-listers in love; that sends everyone into a storm and their lives will never be the same again; there is always that speculation and focus. Musicians are not quite as appealing as actors when it comes to the high-profiles bonds but it seems like there their private lives end pretty quickly. I know Cheryl lives a fairly quiet life but since she started dating Payne (and had a child with him) there has been that fever of press obsession and she has been thrust into focus. Maybe some artists can worsen a problem – big magazine covers posing with their other halves hardly deters and dampens that press intrigue – but it seems even having a normal and stable life is a unlikely.

 PHOTO CREDIT: @mvs_berlin/Unsplash

In this case, who knows the exact cause of the breakup. Maybe there were the pressures of two different careers or Payne not being as interested in family as his own interests. In any case; it seems that there is no real difference when you compare acting and music. If you have these two big artists, there will always be the lens out. People will scrutinise songs and pick through every line; wonder whether lyrics are about their lover and, when things go sour, whether the songs that follow document that. The life of an artist these days is tough enough and I know so many (unsigned artists) that avoid relationships because they fear the lack of commitment and time they have will render things null. You are on the road a lot and there are numerous demands; promotion is constant and the energy levels flag. I have mooted, before, the possibility of having a bespoke dating service for artists...sort of like a Sgt. Pepper’s Lonely Hearts Club-style pun/name that, in all seriousness, would make it easier for artists to find someone suited to them. In Cheryl’s case; I do not think she will swear off men forever – even if her son, Bear, does come first – but dating someone else in the industry is likely to get the press swarming around her door like flies on sh*t. The attention would still be there if she dated someone outside of music but one feels the level of intrusion and focus would not be as severe.

 IN THIS PHOTO: Guy Ritchie and Madonna (the couple divorced in 2008)

From Madonna and Chris Martin through to Cheryl – I know the first two dated actors/directors but they were both famous (Guy Ritchie and Gwyneth Paltrow respectively) -; it is always a lot more testing and challenging when you join two big stars. Think of some of the big-name couples in music that have survived the test of time such as Jay-Z and Beyoncé and it seems their success and stability is a rarity. Granted, that relationship has been put through the spotlight. Many felt Beyoncé’s 2016 album, Lemonade, was talking about Jay-Z and rumours of infidelity. There was a moment you felt they would split but, now, they seem stronger than ever and perform as part of a duo, The Carters. I suppose any sort of indiscretion and cheating will naturally go into one artist’s work and, when you consider the other will release music, the press and fan attention heightens and it can boil over. It is a problem and curse as old as time itself but I wonder whether that high-profile relationship can ever last. There have been survivors and successes but there have been so many more disasters and short-term bonds. When things do break; that can result in a series of petty songs where each artist takes shots at the other and, before you know it, things have truly unravelled. One artist who has faced a lot of unwanted attention and unhappiness regarding her relationships is Ariana Grande.

 IN THIS PHOTO: Jay-Z and Beyoncé/PHOTO CREDIT: Getty Images

When she was dating Mac Miller; there was this sense of togetherness that stemmed from a rather sweet and humble beginnings and, after Miller’s death earlier this year, some blamed Grande for that and felt she contributed somehow. There were compelling enough reasons why the two broke up and the fact Ariana Grande misses him so much – a reason tweet from her shows that pain – means they managed to stay friends after the split. Earlier this year, a couple of months before Mac Miller died; news of their breakup was reported in the press:

“Ariana Grande and Mac Miller's love story began with a tweet, then a friendship built from their early collaborations -- first, "Baby It's Cold Outside," then with the infectious hit "The Way" -- before a full-fledged romance blossomed.

However, that all came crashing down on May 10, when Ariana confirmed the news of her split from Mac in a post on her Instagram Stories. "This is one of my best friends in the whole world and favorite people on the planet,” Grande wrote above a photo of them cuddling and smiling. “I respect and adore him endlessly and am grateful to have him in my life in any form, at all times regardless of how our relationship changes or what the universe holds for each of us!”

Naturally, the news of Ariana and Mac's split didn't sit well with fans, as heartbreak and crying emojis have since flooded the artists' Instagram comment section. Mac, who had a run-in with the law earlier this month and was charged with drunk driving and hit-and-run, has remained mum on all of his socials, while Ariana has been prepping her upcoming album following the release of her new song "No Tears Left To Cry".

 IN THIS PHOTO: Mac Miller and Ariana Grande/PHOTO CREDIT: GC Images

You could argue artists should date those outside of the profession to avoid easy breakups or having quite as much attention from the media. That is fair enough but in many cases it is the similarities they have and that common bond that brings them together. I am likely to be drawn more to someone in music as opposed to someone who wasn’t. It is that sense of compatibility that leads to a relationship and, often, can end it. A lot of the time, the pressures and time demands of music can lead to breakup and problems in a relationship. Musicians are among the busiest around and, when you are traveling so much and wrapped up in a new release, where does the relationship rank? We all get a little bit more interested when we see two well-known artists date and, of course, there is that glitz and glamour that comes with it. A lot times, that endless glare and sense of encroachment can spell the end to even the most secure of relationships – or mean any problems are exposed quicker and, in turn, that adds fuel to the fire. Most of the big Pop names around, at some point, have dated someone quite high-profile and a lot of times one wonders whether the relationship is quite calculated – a ploy for more commercial appeal or something that will generate them that hollow fame.

 PHOTO CREDIT: @wbayreuther/Unsplash

In a lot of instances, there is that un-cynical and natural affection that, if they were in most other industries, would continue to grow and survive. It is not the case every high-profile musical bond will end in flames and be a disaster but I always worry when I see big artists dating and whether they can ever be left alone. Creative and personal lives entwine and it can go bad. Social media can make things so much worse. For every ‘success’ story like that of Beyoncé and Jay-Z, there are these relationships that seem promising but, before long, are over. Love and relationships are the common stock for artists and some of music’s greatest moments have come from pure and content times. I am not down on musicians dating one another but there are obvious traps and obstacles that can trip them up sooner or later. That always present media lens is out and, wherever they go, it seems somebody wants something from them. The natural demands of the music lifestyle can cause their own strains and, if they are two quite prominent and mainstream artists, then that adds another layer of strain to the party. Maybe breakups can breed creative lust and success but the aftermath and realisations are pretty stark and harsh. Maybe Cheryl will date another musician/musical figure soon but it seems family life is more important. A new album and a clearer head has come in and there are new goals on her horizon. Away from all the upset and press intrusion; sometimes that high-profile breakup can result...

PHOTO CREDIT: @shadex_bona/Unsplash  

IN something quite positive.

FEATURE: Many Shades of White: Why The Beatles’ Self-Titled Album Is a Great Test for Modern Artists

FEATURE:

 

 

Many Shades of White

IN THIS PHOTO: The Beatles photoed in 1968 (top-left: John Lennon, top-right: Paul McCartney; bottom-left: George Harrison, bottom-right: Ringo Starr)/PHOTO CREDIT: Apple Records/Getty Images 

Why The Beatles’ Self-Titled Album Is a Great Test for Modern Artists

__________

I was watching a great live stream on YouTube…

that collected together a panel of great music minds who were discussing The Beatles’ fiftieth anniversary. Also known as ‘The White Album’; a fiftieth anniversary collection is available that has the original songs remastered and mixed by Giles Martin – the son of The Beatles’ producer, Sir George Martin – and the famous ‘Esher demos’ – Esher (Surrey) is where the band converged to record these demos, in George Harrison’s bungalow. Alongside all of this is a full and frank written account of the album, some rare outtakes and all the goodness you could want. It has been lovingly put together by Giles Martin and his team and, as I shall talk about later; it perfectly brings this fifty-year-old collection of songs to the modern time without sacrificing its authentic sound and purity. That is a hard job to do and one Martin has done with aplomb. Before looking ahead and why the fiftieth anniversary collection will open modern eyes; a look back at the album and what was happening at the time:

“Recording sessions for the White Album started with the song Revolution on May 30, 1968, and concluded with take three of Julia on October 13, 1968. Mixing was completed five days later on October 18, 1968. Recorded mostly at Abbey Road Studios, with some sessions at Trident Studios. Although productive, the sessions were reportedly undisciplined and sometimes fractious, and took place at a time when tensions were growing within the group.

Concurrent with the recording of this album, The Beatles were launching their new multimedia business corporation Apple Corps, an enterprise that proved to be a source of significant stress for the band. Also recorded during the White Album sessions were What’s the New Mary Jane and Not Guilty. These two tracks were only available on bootlegs for many years, but were finally released for the first time 28 years after they were recorded on Anthology 3 in 1996…

Despite the album’s official title, which emphasized group identity, studio efforts on The Beatles captured the work of four increasingly individualized artists who frequently found themselves at odds. The band’s work pattern changed dramatically with this project, and by most accounts the extraordinary synergy of The Beatles’ previous studio sessions was harder to come by during this period. Sometimes McCartney would record in one studio for prolonged periods of time, while Lennon would record in another, each man using different engineers. At one point in the sessions, George Martin, whose authority over the band in the studio had waned, spontaneously left to go on holiday, leaving Chris Thomas in charge of producing. During one of these sessions, while recording Helter Skelter, Harrison reportedly ran around the studio while holding a flaming ashtray above his head.

 

The sessions for The Beatles were notable for the band’s formal transition from 4-track to 8-track recording. As work on this album began, Abbey Road Studios possessed, but had yet to install, an 8-track machine that had supposedly been sitting in a storage room for months. This was in accordance with EMI’s policy of testing and customizing new gear, sometimes for months, before putting it into use in the studios. The Beatles recorded Hey Jude and Dear Prudence at Trident Studios in central London, which had an 8-track recorder. When they found out about EMI’s 8-track recorder they insisted on using it, and engineers Ken Scott and Dave Harries took the machine (without authorization from the studio chiefs) into the Number 2 recording studio for the group to use… 

The resulting tracks did not have the same sound as previous Beatles albums had. Thinking that something was wrong with the sound of EMI’s new 3M 8-Track machine (see left), they asked to have a technician check the factory calibration of the machine. The technician using a calibration tape showed the recording engineers that nothing was wrong with the machine, that it was calibrated perfectly to factory standards. The recording engineers were stymied — until they were told by industry professionals that the previous mixing boards at EMI had been valve (US English: tube) powered boards making the earlier Beatles albums sound different. The new mixing boards were the culprit – not the new 3M 8-Track recording machine. It, therefore, took some time before the EMI engineers were able to get the quality of sound they wanted using these transistorized mixing consoles. The EMI engineers were finally able to get the same quality of sound of eariler Beatles albums on Abbey Road”.

There has been a lot of debate, at the time and later on, whether The Beatles should have been a single album and not the double we all see. This article from The Beatles Bible collects the opinions of a couple of Beatles and Sir George Martin:

“After Sgt Pepper changed the world, the world keenly awaited The Beatles' next step. They had released just the six-track Magical Mystery Tour EP and the Lady Madonna single since then, and there was widespread speculation in the press that they were a spent force.

While recording the album, the group was in the process of launching the multimedia business Apple Corps, while coping with various upheavals including drug busts, changing relationships and substance abuse.

 

The Beatles were old hands at dealing with such pressure. They turned away from the elaborate excesses of Sgt Pepper, recording instead a simple collection of 30 songs under an even simpler name: The Beatles.

George Martin later claimed he had wanted the group to omit the album's weaker songs and focused instead on producing a solid single-disc release.

I thought we should probably have made a very, very good single album rather than a double. But they insisted. I think it could have been made fantastically good if it had been compressed a bit and condensed. A lot of people I know think it's still the best album they made. I later learnt that by recording all those songs they were getting rid of their contract with EMI more quickly.

George Martin
Anthology

Ringo Starr agreed with the sentiment.

There was a lot of information on the double album, but I agree that we should have put it out as two separate albums: the 'White' and the 'Whiter' albums.

Ringo Starr
Anthology

Despite its faults as a collection, Paul McCartney stood by the album, saying that the wide variety of songs was a major part of its appeal.

I think it was a very good album. It stood up, but it wasn't a pleasant one to make. Then again, sometimes those things work for your art. The fact that it's got so much on it is one of the things that's cool about it. The songs are very varied. I think it's a fine album…

 

I don't remember the reaction. Now I release records and I watch to see who likes it and how it does. But with The Beatles, I can't ever remember scouring the charts to see what number it had come in at. I assume we hoped that people would like it. We just put it out and got on with life. A lot of our friends liked it and that was mainly what we were concerned with. If your mates liked it, the boutiques played it and it was played wherever you went – that was a sign of success for us.

Paul McCartney
Anthology”.

Sir George Martin died two years ago but I think he would be very proud and pleased with Giles’ work on the fiftieth anniversary work. This article gives you a numerical guide to The Beatles but, so far, the reviews for the remastered anniversary releases has been positive. Ultimate Classic Rock gave their views:

“And from the sound of the double White Album, George Harrison, John Lennon, Paul McCartney and Ringo Starr were indeed going their own ways. The 30 songs often unfold like solo tracks with various Beatles sitting in as sidemen with whoever was taking lead on a particular song.

That's why the seven-disc The Beatles (White Album) Super Deluxe is such a revelation at times: They sound like a band working together to create one of rock's all-time greatest LPs. There are some solo excursions here – especially on the stripped-down disc of "Esher Demos" that find the Fab Four testing out their new songs for each other – but there's also plenty of old-school camaraderie as the group works out old songs, new songs and songs that would sit in the vaults for years”…

 

The studio sessions are like that, offering selected glimpses into how the Beatles got from here to there. Sometimes it's just an instrumental backing track to "Back in the U.S.S.R."; other times it's an early acoustic version of "While My Guitar Gently Weeps" that's just a little less majestic than the one you know. And occasionally there's something jaw-droppingly awesome like that 10-minute "Revolution 1" that reveals sections that eventually found their way into the audio collage on "Revolution 9."

So, in that sense, the 27 "Esher Demos" included here are both the springboard to this set and its centerpiece, even as they reinforce the notion that the four Beatles were moving their separate ways. Early, skeletal versions of songs like "Ob-La-Di, Ob-La-Da" and "Happiness Is a Warm Gun" got big boosts in the studio when the entire band chipped in, but they're still fascinating and tuneful as acoustic pieces.

Still, these early demos don't mean as much without the finished record. Half a century later, the White Album remains one of the Beatles' greatest, influential and definitive works. You'll appreciate it even more after hearing this Super Deluxe box, which chronicles the LP's inception while furthering its case for such an esteemed place in music history. After all these years, it doesn't sound like the end, but rather a new beginning”.

 

I have chatted a lot about the background and sort of left the article on a cliff-hanger. I was, as I said at the top, watching the YouTube video where Matt Everitt (BBC Radio 6 Music) and Giles Martin spoke about the new release and dissected the songs. Joining them on a panel was Miles Kane and Andy Bell (Ride); Georgie Rogers (BBC Radio 6 Music, Soho Radio), Felix White (The Maccabees) and Dan Stubbs (NME). They gave their views regarding the album and why it is so special; how it has translated through the past five decades and why it remains so special. The consensus was – and will be for most other people – that the sheer eclectic range of the records means you are picking up new elements and reveals this far along. Songs fall in and out of favour and, unlike some Beatles albums; The Beatles holds a strong and loyal position in their all-time top-five. It was a great discussion and I learned a lot – from Martin and the guests – regarding the songs’ beauty and how the material came together. The fact most of the material was laid onto a 4-track – there was an 8-track but the guys wanted a simpler and less rigorous sound than on Sgt. Pepper’s Lonely Hearts Club Band -  is amazing! Thirty songs on four sides (on vinyl that is; or a single sitting/skimming on Spotify); it is a masterful album that, despite some rougher cuts, amazed critics and resonated profoundly.

 IN THIS IMAGE: The Beatles (and Yoko Ono) depicted in their 1968/The Beatles period/IMAGE CREDIT: Ken Lowe

I guess two myths/quibbles need to be got out of the way before I look to the future. One, as discussed last night, was this notion that The Beatles was a band in disarray and chaos. It is true Sir George Martin was at-odds with Paul McCartney, Ringo Starr (sirs both); George Harrison and John Lennon because, in terms of recording and the way it was being produced; he was used to a different style. The Beatles was a completely different experience to that of Sgt. Pepper’s Lonely Hearts Club Band. Gone was the ruthless perfectionism and all-night sessions mining the studio for fresh secrets: replacing it was a band being a band; looser and willing to put the songs together in their own time. Whilst George Martin (I’ll drop the knighthood from now onward, if that is okay) was unhappy with the experience and felt it should have been a single album; what remains and we have is glorious. I do not feel you can whittle down a double-album as captivating as colourful as The Beatles because it is a long listen. The Telegraph mooted a single album and highlighted faults.

“...But where that 1967 masterpiece sounds unified, The Beatles (to give The White Album its official title) is fractured, its disparate pieces flying off in different directions. It is the sound of The Beatles falling apart.

Still, if you think the original White Album’s sprawling, wait until you hear about the forthcoming six-CD Deluxe edition, which adds 27 early acoustic demos and 50 session takes to the album’s original 30 tracks. As a tonic to that, let’s consider a shorter version. reducing The White Album’s 30 tracks (31 if you include Can You Take Me Back?, uncredited on the sleeve or label) to... how many, exactly? Fan site beatlesbible.com says 14 tracks is the “standard rule”. The White Album aside, six of The Beatles’ other 10 albums released in the UK had 14 tracks. So 14 it is. And like a diligent maths pupil, I’m going to show my workings...

 

An easier omission is Ob-La-Di, Ob-La-Da. Paul McCartney placed rocket boosters under already existing inter-band tensions by his insistence that the group spend two days playing Ob-La-Di, Ob-La-Da over and over again. It’s a banal ditty that exemplifies what Lennon derided as “Paul’s granny music”. But McCartney was convinced it was a hit. He was right, it was – the band Marmalade took their contemporaneous cover version to number one. But I think we can live without it on our leaner White Album.

Same goes for Honey Pie, a less egregious example of Paul’s granny music, but nevertheless a novelty item. We tolerated When I’m 64, Paul, because it seemed psychedelic on Sgt Pepper, coming straight after Within You Without You. We quite enjoyed Your Mother Should Know from Magical Mystery Tour (the double EP released in 1967 a few months after Sgt Pepper). But while we can admire McCartney's mastery of pre-war pop stylings, he's testing our patience with this one, and it hasn’t “hit the big time”

Meanwhile Birthday has not supplanted Happy Birthday to You as an anniversary anthem, and McCartney’s Why Don’t We do it in the Road?, while enjoyably crude, is not a major work. Nor is Lennon’s Everybody’s Got Something to Hide Except for Me and My Monkey. The primate in question may have been heroin, though the track’s exuberance suggests Lennon can’t have been taking too much of it at that stage”.

Apart from Back in the USSR, Helter Skelter and Happiness Is a Warm Gun; most of Jon Dennis’ selected fourteen have a calmer and more tranquil mood.

I contest there are a few songs I pass by – including George Harrison’s Piggies and Paul McCartney’s Rocky Raccoon – but each track holds its place. You could not do a single album because there is a subjectiveness and which songs do you omit?! People will be angry whichever songs you remove and, in a digital age, one can merely take the original double-album and select an album’s worth that they can put into a playlist! The thirty moods, stories and skins you get from The Beatles tells a complete story and is a definition of where the band were in 1968. The fact the band might pick a different fourteen songs to the collective critical wisdom suggests an obvious flaw in that plan. Releasing a double-album is risky and can divide but The Beatles knew what they were doing and the songwriting is exceptional. Even the slightly ‘weaker’ cuts are interesting and are worth listening to. Other states The Beatles were on the verge of splitting. Maybe John Lennon thought they were doomed and George Martin was happy. There were a few spats and issues – Starr briefly left and there were a few arguments; Yoko Ono’s increasing role in the studio meant she and Lennon were separate from the rest of the band; Harrison often wrote alone and did not have a partner – but the band were on the same page when it came to getting the material down. You cannot record a song as complete and formidable as Helter Skelter (Paul McCartney’s offering) if you are divided and squabbling.

 IN THIS IMAGE: The cover for the Super Deluxe Anniversary Edition of The Beatles/IMAGE CREDIT: Apple Records/Getty Images  

A lot of the outtakes and in-studio discussions show there was calm and that willingness to explore and unite. Whereas Let It Be, which followed the following year, was a visibly tense and notoriously fractured album; The Beatles is a lot more harmonious and easy than most assume. This article looks at the band being ‘broken’ doing 1968:

“How seriously were the Fabs adhering to the path of spiritual awakening as they returned to the studio to work on the follow-up to Sgt Pepper?

George Harrison, it seemed, was still into it. John Lennon was out of it, and maybe not just figuratively. When asked whether he had returned from holiday with anything "fantastic", he replied: "Yes. A beard."

McCartney's attention had drifted into a world of musical pastiche and Ringo Starr was unimpressed with the way things were shaping.

Not the most auspicious of starts. The truth is the Beatles hadn't really been on the same page since they stopped touring in 1966 but, buoyed on by phenomenal success, they just kept going.

Another major problem for the group was that they were without a manager. Brian Epstein had died of an accidental overdose just at the point when they were delving into meditation.

Aside from the colossal personal impact of this tragedy, the group's business affairs were now all at sea...

IN THIS PHOTO: The Beatles during their ‘Mad Day Out’ in the summer of 1968/PHOTO CREDIT: Tom Murray 

“Business differences were to cause them problems for the next few years.

Lennon and McCartney also had another issue to contemplate. While the quality of their songs, whether written separately or together (an increasingly rare event) was seldom in question, now they had a third songwriter to accommodate.

The material which Harrison was bringing to sessions was good. So good, in fact, that it threatened to eclipse theirs. Some would say it did.

Lennon was also bemusing his bandmates by bringing his new partner, conceptual artist Yoko Ono, along to every recording session.

On top of all this, their stalwart producer George Martin, frustrated at the band's undisciplined approach to recording, walked away from the project suddenly, depriving them of his genius in the process.

Arguments ensued. Paranoia was rampant. Ringo had enough and left the group, only to be coaxed back by the others, but not before they'd nailed the album's two opening tracks without him.

The White Album ended up being the record on which The Beatles cracked inwardly and irreversibly as a group.

As Harrison so accurately observed: "The only thing we could do was write songs and make records and be Beatles… successfully. And there were always good songs".

Whatever the opinions regarding their fragility and mental states; whether the album should be a single or a double; we are listening to it fifty years after release and revelling in its myriad voices and sights. It is a masterful work that, through the courses of thirty songs, covers multiple genres and themes. Paul McCartney alone is responsible for penning Ob-La-Di, Ob-La-Da (a jaunty, Music Hall number), Blackbird (a Folk song about civil rights); Helter Skelter (a forerunner to Metal) and Back in the U.S.S.R. (a nod to the style of The Beach Boys). John Lennon was not to be outdone and wrote what is seen as one of the (if not the) best song on the album: Happiness Is a Warm Gun. It is a multi-part suite that would be taken to heart by the likes of Radiohead (Paranoid Android) and multiple artists. Lennon was not deliberately trying to do a suite-like song but he was following his instincts. Lennon also wrote Julia (about his late mother) and Glass Onion; The Continuing Story of Bungalow Bill (a child-like song you’d imagine coming from McCartney) and Revolution 9 (more a soundscape than a traditional song). There were efforts from George Harrison – including the Eric Clapton-featuring While My Guitar Gently Weeps – but it was the lead songwriters opening their minds to the limit and coming up with some of the best material of their careers. They were no longer writing the three-minute Pop song for radio and worried about performing these songs for enthralled audiences (the band stopped touring before Sgt. Pepper’s Lonely Hearts Club Band as they could not hear themselves sing anymore).

 IMAGE CREDIT: Getty Images

You notice stunning drum fills or great effects; lyrics that jump out of nowhere and songs that burrow their way onto the brain. Denying the world of all the songs would be a crime and you’d miss out on so many gems. Giles Martin’s care and dedication means not only do we get to hear the originals fresher and in a modern context but there is more content around the songs: those discussions and outtakes show how numbers came to be and the process of experimentation. I urge people to buy the anniversary releases and get involved with every note and scrap that you can find. Not only was The Beatles the sound of a band, once more, changing the game but it was a record that few have managed to match. Bands such as The Clash and The 1975 have taken various elements from The Beatles and used them in their own work but I cannot think of another band who has managed to make such a scattershot and diverse record. Many might say one cannot release a double-album in the streaming age. Not only would people cherry-pick songs and discard the majority of the album; critics would roll their eyes and suggest it be narrowed to a single L.P. Taking risks is a way of moving music forward and we would not be as attached to The Beatles’ eponymous album were it not for the number of songs and how much ground is covered.

Consider how many different genres there are included and that provides a tantalising prospect for a new band! Maybe a solo artist could attempt it but, for those out there who are looking to push boundaries and blow the game open; why not look at The Beatles and take the lead from this incredible work of art?! I feel there are so many lessons and secrets to be discovered that you could make a modern-day equivalent. Maybe the recording process would be different in terms of the personnel but I don’t think you need to go ultra-modern and use high-tech stuff. Using 4 and 8-track recorders to give it that vintage sound – and keeps you focused and provides a challenge – and not limiting yourself in terms of subject matter (The Beatles covered everything from birthdays to loneliness through to civil rights and the rich elite on their self-titled album) is a good idea. Maybe not every song will hit the mark but it will allow you to indulge, not be limited by convention and routine and could lead to something spectacular. I know a lot of bands who were playing around the time of The Beatles’ release and taking heed from it. This fascinating study of The Beatles talks about the way the ‘fashion’ of the record has lived on:

“They fashioned their look in a similarly simple style. The gaudy showbiz flash of the Pepper era joined the Epstein-dictated sartorial conservatism of their touring years on the cultural scrap heap. In their black waistcoats, white shirts, black hats, snake-hipped, low-slung, tapered and tailored flares, they looked more like a gang than like a marching band. Cuban-heeled, ankle-hugging Chelsea boots, mix-and-match moustaches and meticulously mussed hair suggested the brooding frontier cool of the American West, riverboat gamblers with issues. It was an enduring stylistic template for the likes of the Black Crowes, The Raconteurs and the Temperance Movement. The ’68 Beatles – a one-stop shop for 21st-century stylists – were rock-band-cool incarnate”.

IN THIS PHOTO: The Super Deluxe Anniversary Edition of The Beatles/PHOTO CREDIT: Apple Records/Getty Images  

I think too many artists balk at the idea of doing a double-album and feel it will be panned. The fact that The Beatles loved their eponymous album means the experience was great and shows they were united in a common goal. They broke ground and created this breath of fresh air back in 1968. There have been a few half-arsed attempts to go some way to redefining the album but nobody has managed to go far enough to get the tongue wagging. It is 2018 and we have more sounds and genres available at the fingertips than fifty years ago. Modern artists can listen to the giddiness of Ob-La-Di, Ob-La-Da and the roar of Helter Skelter and marvel. They can vacillate over Good Night and Glass Onion and, rather than admire those songs; try making their own versions and following in the footsteps of The Beatles. It is a hard ask but the time is right and I feel a modern challenge would be well-met and admired. So, then...why buy the anniversary edition(s) of The Beatles?! You could stick with the original and have all the songs there – one gets so much more with tomorrow’s release:

“The BEATLES (‘White Album’) releases include:

Super Deluxe: The comprehensive, individually numbered 7-disc and digital audio collections feature:

CDs 1 & 2: The BEATLES (‘White Album’) 2018 stereo album mix

CD3: Esher Demos

- Esher Demo tracks 1 through 19 sequenced in order of the finished song’s placement on ‘The White Album.’ Tracks 20-27 were not included on the album.

CDs 4, 5 & 6: Sessions

- 50 additional recordings, most previously unreleased, from ‘White Album’ studio sessions; all newly mixed from the four-track and eight-track session tapes, sequenced in order of their recording start dates.

Blu-ray:

- 2018 album mix in high resolution PCM stereo

- 2018 DTS-HD Master Audio 5.1 album mix

- 2018 Dolby True HD 5.1 album mix

- 2018 direct transfer of the album’s original mono mix

Deluxe: The BEATLES (‘White Album’) 2018 stereo album mix + Esher Demos

The 3CD; 180-gram 4LP vinyl box set (limited edition); and digital audio collections pair the 2018 stereo album mix with the 27 Esher Demos.

Standard 2LP Vinyl: The BEATLES (‘White Album’) 2018 stereo mix

180-gram 2LP vinyl in gatefold sleeve with faithfully replicated original artwork

 

The minimalist artwork for ‘The White Album’ was created by artist Richard Hamilton, one of Britain’s leading figures in the creation and rise of pop art. The top-loading gatefold sleeve’s stark white exterior had ‘The BEATLES’ embossed on the front and printed on the spine with the album’s catalogue number. Early copies of ‘The White Album’ were also individually numbered on the front, which has also been done for the new edition’s Super Deluxe package.

The set’s six CDs and Blu-ray disc are housed in a slipsleeved 164-page hardbound book, with pull-out reproductions of the original album’s four glossy color portrait photographs of John, Paul, George, and Ringo, as well as the album’s large fold-out poster with a photo collage on one side and lyrics on the other. The beautiful book is illustrated with rare photographs, reproductions of handwritten and notated lyrics, previously unpublished photos of recording sheets and tape boxes, and reproduced original ‘White Album’ print ads.

IN THIS PHOTO: The three-C.D. Anniversary Edition of The Beatles/PHOTO CREDIT: Apple Records/Getty Images 

The book’s comprehensive written pieces include new introductions by Paul McCartney and Giles Martin, and in-depth chapters covering track-by-track details and session notes reflecting The Beatles’ year between the release of ‘Sgt. Pepper’ and recording sessions for ‘The White Album,’ the band’s July 28 1968 “Mad Day Out” photo shoot in locations around London, the album artwork, the lead-up and execution of the album’s blockbuster release, and its far-ranging influence, written by Beatles historian, author and radio producer Kevin Howlett; journalist and author John Harris; and Tate Britain’s Senior Curator of Modern and Contemporary Art Andrew Wilson. The Deluxe 3CD is presented in an embossed digipak with the fold-out poster and portrait photos, plus a 24-page booklet abridged from the Super Deluxe book. Presented in a lift-top box with a four-page booklet, the limited edition Deluxe 4LP vinyl set presents the 2LP album in a faithful, embossed reproduction of its original gatefold sleeve with the fold-out poster and portrait photos, paired with the 2LP Esher Demos in an embossed gatefold sleeve”.

Say what you want about albums that followed The Beatles but nobody cannot deny, in 1968, the world’s best band were onto something and throwing away the rules! It remains this fascinating and multifarious treasure chest from four men who wants to create something historic. They did that and did so much more. We might pick odd tracks from The Beatles to ignore but I think each song is a part of the tapestry and essential. Through time, musicians and fans alike have given their views and expressed their love. I think now, as we marvel fifty years on; it is a great time for a modern act to look at The Beatles and...

IN THIS PHOTO: Paul McCartney during the recording of The Beatles in 1968/PHOTO CREDIT: Getty Images 

CHALLENGE themselves to match it!

INTERVIEW: Bizou

INTERVIEW:

Bizou

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THE brilliant Bizou…

have been telling me about their recent track, Superstition, and what its story is; how the band got together and whether we might see more material coming along next year – they each select an album that means a lot to them.

I ask if they have similar music tastes and whether there are any gigs coming up; how they chill away from music and which rising musicians we need to get behind – the band members each select a song to end the interview with.

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

Mina: We're good! We're in the studio listening to Nicole lay down some sexy bass riffs.

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

We're Nicki, Nicole; Mina, Erin and Josiah. We're a five-piece Post-Punk band based in L.A. We're ‘Bizou’.

Superstition is your new single. Is there a story behind it? 

One night; me and Josiah were digging through demos trying to find something we hadn't worked on yet and he pulled up a file called Black as My Soul. I had no idea what to do with it vocally for a long time - in fact - and it totally bombed the first time we tried to put vocals on it. I had to lock myself in my room for a couple days with it. The lyrics are about anxiety - the way it makes you paranoid and unreliable, especially to yourself. It all sort of spewed out of me suddenly, like a real panic attack. You know, light fun stuff! 

Do you think there will be an album later this year?

We have two E.P.s we're planning to release consecutively beginning early next year. Most likely one in the spring and one in the fall. 

How did Bizou meet? When did you get together? 

Erin, Nicki; Josiah and Nicole have all been friends, playing together in various projects for years. I met everyone through a mutual close friend of myself and Erin. After I left Wax Idols, I was eager to get back to work and hopefully avoid what I thought was likely to be a six-month long post-band spiral. We started jamming together on some demos Josiah had sent me and we have kept working together ever since.

You all hail from different U.S. states. Do you all have different music taste as well?

I think we all agree on The Cure, Siouxsie; Joy Division, New Order and Wire. Outside of that, I think our tastes really range. Nicole and I love teeny-bop divas from the early-'80s, Erin loves Steely Dan; Nicki hates Duran Duran etc.. etc. I think there's a decent interplay between our shared likes and dislikes - to create some artistic frisson. 

Do you already have plans for 2019? 

Josiah: Two E.P.S chock-full of amazing sounds and songs to rock your bowels!!

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

Nicole: Playing drums in front of 10,000 people. I don't really play drums but I LOVE to play drums! I was convinced (very reluctantly) to play them for one song with the Pumpkins at one of our shows; it was an easy enough song but I was scared sh*tless! I had to sing background vocals too AND I was in high heel boots.

But, it was one of those moments I'll never forget because it was a ‘walking through fear and coming out the other end relatively unscathed’ kind of moment. You don't forget those! Also; my dad was a drummer so I felt him there with me in that moment and I know he was loving every second! 

Josiah: The one that sticks in the mind?  Similar to alcohol. There have been times when I get goosebumps playing music. That’s what I strive for when I create or play music. 

Erin: Two! One was when I played the Music Hall of Willamsburg and realized that two of my heroes (Kim Gordon and Thurston Moore) were in the audience and dug my drumming. The second is getting to go to Nashville and play with Bones from Midnight Oil in a band out there. It was just tons of fun and he's a badass bass player.

Mina: I feel like Josiah a bit - it's not a specific memory that I love so much but rather a feelingthat I'm trying to get from playing music and to stay in that moment as long as possible. When it's going really right, you just feel free.

Nicki: The one that sticks in the mind? Josiah and I were in a band called Light FM and we opened a show for Jesus & Mary Chain. I needn’t say more!

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

Josiah: Tears for Fears - The Hurting; Grandaddy - The Sophtware Slump.

Erin: ELO - Out of the Blue. My folks introduced me to them when I was a little kid and I have a lot fond memories of travelling and listening to that record with them. 

Mina: Tori Amos - Boys for Pele. I can't even explain how formative that record is for me. It's like trying to describe something preverbal. That and Siamese Dream. 

Nicole: The Cure – Disintegration.

Nicki: Sonic Youth - Goo was one of my first albums and made a huge impression on me. Still does. 

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

If we could do a support tour with anybody, it would have to be Garbage. That with some coconut water and hummus and, honestly, we'd be set. 

What advice would you give to new artists coming through? 

Mina: Play a lot. Take everything about it seriously except for yourself. 

Josiah: Don't be a dickhead!

What do you hope to accomplish by the end of 2018?

We’re excited to finish all the tracking for our two forthcoming E.P.s by end of year. That and play a ton of shows; hopefully in a hometown near you.

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

No upcoming tours planned - hopefully in the spring 2019! 

IN THIS PHOTO: DRÆMINGS

Are there any new artists you recommend we check out? 

Josiah: DRÆMINGS, Livermore; MAWD, Shunkan; Nightmare Air and Sprain!

Erin: Erika Wennerstrom, Tempers and Lawrence Rothman.

Mina: This new Moonface record is fuc*ing me UP. 

IN THIS PHOTO: MAWD/PHOTO CREDIT: Ben Thomas

Do you get much time to chill away from music?

Josiah: I don’t get a second away from music. I record bands for a living. When I’m not working on music, I’m zen-ing the fu*k out on a yoga mat. 

Nicki: I’m usually either working my day job or playing music and, in between, I try to find time for hiking or other outdoor adventures. 

Nicole: Outside of music, I like to chill with my animals, do yoga; hike and sit in my hot tub with a glass of rosé. 

Erin: Most of my time outside is spent loving on my Fur Babies; cooking and spending time in nature. 

Mina: I second Nicole on the bath wine! Music is my main outlet. Just listening to it really. Apart from that, I like to read and write a lot. 

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

Nicki: It's Obvious - Au Pairs

Nicole: Prison Girls - Neko Case

Josiah: Our Girl - Our Girl

Erin: Wolves Still Cry - Lawrence Rothman 

Mina: Dreamsong – Moonface

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Follow Bizou

Facebook:

https://www.facebook.com/unebizou/

Twitter:

https://twitter.com/musicbybizou

Spotify:

https://open.spotify.com/artist/4d3D1EbEOEye3NfwJHZiiE?si=86XhQXwQQ5WrQQwMYkpNAw

Instagram:

https://www.instagram.com/unebizou/

INTERVIEW: Sorsari

INTERVIEW:

Sorsari

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THANKS to Sorsari for telling me about…

his single, Monster, and the E.P., Patterns. I ask about the inspirations behind the E.P. and what sort of music he is inspired by; the albums that are important to him and where he is heading as we look forward to 2019.

I ask whether there will be gigs coming up and which rising artists we need to get behind; if he gets time to chill away from music and which artist he’d support if he could choose anyone – Sorsari picks a great song to end the interview with.

__________

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

My week has been really good so far!

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

My name is Alex Jensen and I'm a twenty-eight-year-old from Edmonton, AB (in Canada). I've been making music under Sorsari since 2015 but I've been picking away at computer music for about ten years now.

Monster is your new single. Is there a tale behind it at all?

Nothing in particular. I was playing around with this Rihanna vocal and I managed to get some cool chops out of it and, when I heard the 'monster' vocal; I knew I could turn it into a higher energy type of track.

Your E.P., Patterns, is out. Are there particular themes and ideas that inspired it?

I wouldn't say there are any particular themes; I felt that 'Patterns' was an appropriate name since I was stuck in this pattern of producing that involved my transition to making music at 140 B.P.M. from 120 so I kind of just slapped the name on it as the E.P.

Is it true you recorded to 8-track? What was the reason for that?

No? Not sure where that came from.

Do you have particular music idols or artists you grew up around?

I would say my friends inspired me the most as artists since I grew up with a lot of different musicians and a lot of producers within my city. I always surrounded myself with creative people because I felt like I had a community of people who shared the same passion and desires to do something more than ourselves. Jake Robertz is one of my best friends as well as my biggest rival in the friendliest way. He always keeps my head straight with music.

What do you hope to achieve by the end of 2018?

I just hope I keep the flame alive and continue to grow and evolve with my music. I don't have any particular deadlines or timelines for when I want to achieve certain things with music but I want to keep the ball rolling and continue to break my own boundaries.

Do you already have plans for 2019?

I've recently been picking up some analog gear so I'm probably going to be making more music with more hardware involved into the tracks. I want to make an E.P. or an album or something with the new toys but, ultimately, I would like to make an album for Terrorhythm.

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

My favourite memory would be playing at Borealis Music Festival back in September. It was a brand-new festival that my friends put together - and it was nothing but fire from our local scene in Alberta playing all types of Dance music. I felt like I was at home when I was performing there and I was surrounded by nothing but love and the best people I've ever met.

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

Kuedo - Severant

Burial – Untrue

Om Unit - Self

I think these three albums mean the most to me because they make me feel like I'm spiritually elevating and they're also the most interesting to me in terms of how they're composed.  

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

I would want to be direct support for Plastician. As for my rider; enough Clamato juice and hot sauces for Caesars all night.

What advice would you give to new artists coming through?

Be open in taking your time with learning how to use your DAW; how to synthesize your own sounds and how to create your own sound within your genre. Learn how to take criticism and realize that everybody has their own paces. I know a lot of people (including myself) who get frustrated at being slow but there's nothing wrong with that. As long as you're involving yourself with your art and spending any amount of time on it, you're constantly moving in the right direction. 

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

Nothing at the moment. I might plan on doing something within the western parts of Canada in 2019 but I really just want to focus on making more music since I feel like I have to improve much more before I do anything serious in terms of playing out. I'm honestly bored of a lot of my music. Haha.

 IN THIS PHOTO: MRKRYL

Are there any new artists you recommend we check out?

MRKRYL, Jake Robertz; Giant ibis, Yedgar and Zeal.

 IN THIS PHOTO: Yedgar

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

A lot of time. I work full-time but I still have room for whatever. I usually just game if I'm not making music.

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

Jake Robertz - Forest Spirit

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Follow Sorsari

Facebook:

https://www.facebook.com/sorsari/

Twitter:

https://twitter.com/sorsariii

Spotify:

https://open.spotify.com/artist/2t01L1I0juJWbThU5jP06Y

Instagram:

https://www.instagram.com/sorsari/

SoundCloud:

https://soundcloud.com/sorsari

INTERVIEW: Humans

INTERVIEW:

Humans

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MY first piece of the day is a chat with Humans…

who have been telling me about their latest track, Still About You, and what its story is. I ask what is coming next and what sort of music they are inspired by; what plans are ahead in terms of gigs and whether there is a favourite music memory.

I ask whether there are any rising artists to look out for and what advice upcoming musicians should take to heart; how the music of Humans has evolved since the start and whether there are any things to get done before the end of this year.

__________

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

Busy. We both work like ten jobs so we’re pretty much slammed all the time. It’s great because we’re also both nihilists and it's making our lives go by really quickly!

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

We met at Ayden Gallery for Peter’s art show in 2008. I was a folky bicycling, missing-toothed poet and ol’ Petey was a Montreal-transplanted visual artist and aspiring Electronic performer. We joined forces and made some very rough around the edges but well-intentioned music that has subsequently been known as ‘dashumans’.

Still About You is your new track. What is the story behind it?

We wrote it in a shimmer of Los Angeles autumn. We partied so, so hard every night and worked all day everyday with our friend and colleague Carlos de la Garza. We also met a young chap named Ryan Daley who helped us out with everything plucked and plonked (A.K.A., he’s a really solid musician). We banged it out, writing about feeling like sh*t on airplanes, feeling lost and emotional while on tour; losing my girlfriend at the time and just pouring it all out on the page.

Might we see more material coming next year do you reckon?

Duh.

How did Humans get together and find one another?

I think I covered that already pretty thoroughly…

In terms of music; what did you both grow up around and idolise when young?

Robbie really liked Michael Jackson, The Beatles; Annie Lennox, The Police; Sting and Talking Heads. Peter liked some weird French music where they wear huge pants and Weird Al Yankovic. When Nirvana’s Smells Like Teen Spirit L.P. came out, Weird Al had the same single and an album with the same cover so I thought ‘Wow! The same whole album but all with dumb jokes; count me in!’ It didn’t turn out like that but I became a fan either way. I loved The Beach Boys, Genesis; Peter Gabriel, Phil Collins; M.J., Georges Brassen; you know, the usual kid sh*t.

How do you think you have developed and evolved since the start of your career?

We’ve really melded our styles together into this smooth concoction of the things we really like about each other.

Given your name; which song with the name ‘human’ in it would you select as the very best?

The score to/title track of The Human Centipede. 

What do you hope to achieve by the end of 2018?

Robbie: I’m building a Donald Judd bed-frame but having doubts about my ability to move it out of my shop and into my apartment. So, that is a huge concern and something I really want to figure out A.S.A.P.

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

I really liked playing Coachella. I felt like a really special person that day. It made me really happy.

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

Nirvana Smells like Teen Spirit. I eventually bought it and it really inspired me: it was the first time I saw a band that looked and sounded normal to me; not pre-fabricated like everything I had seen till then.

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

Zeustate; she's rad. 

My rider has Kombucha, cigarettes; meal tickets; booze for our friends.

Can we see you on the road this year at all?

Not 2018…well maybe but I don't know. Not an answer, I know. 2019 for sure.

What advice would you give to new artists coming through?

Do your own shows, book your own parties and the rest will come.

IN THIS PHOTO: Art d’Ecco/PHOTO CREDIT: @dailycitytrain

Are there any new artists you recommend we check out?

Art d'Ecco is a Vancouver band that caught me by surprise. You know when your friends tell you to check out their band and you do and you're like “OK, cool". This one I was like "Oh, sh*t". 

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

Yeah; too much time but it's healthy because once you get back into it you feel fresh and inspired.

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

Mam Yinne Wa - Alogte Oho & His Sounds of Joy

___________

Follow Humans

Official:

http://dashumans.com/music/

Facebook:

https://www.facebook.com/dashumans

Twitter:

https://twitter.com/dashumans

Spotify:

https://open.spotify.com/artist/4BCVARfLoVaJDbk5x3Qqmz?si=wdXVerxRReOC3tEV8-hHgQ

Instagram:

https://www.instagram.com/dashumans/

SoundCloud:

https://soundcloud.com/dashumans

YouTube:

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

FEATURE: A Woman in a Beret, a Smoke-Filled Café and a Magical Moment in Woodstock: Joni Mitchell at Seventy-Five: An Icon Who Can Paint Lyrical Images Like No Other

FEATURE:

 

 

A Woman in a Beret, a Smoke-Filled Café and a Magical Moment in Woodstock

IN THIS IMAGE: Joni Mitchell/IMAGE CREDIT: Georgia O’Keefe/Getty Images

Joni Mitchell at Seventy-Five: An Icon Who Can Paint Lyrical Images Like No Other

__________

I hate to open a feature talking about mortality…

IN THIS PHOTO: Joni Mitchell in Amsterdam in 1972/PHOTO CREDIT: Getty Images

but we are seeing icons pass and it is sad to realise we will never see the like of them again. Stunning songwriters like Leonard Cohen have gone and David Bowie, that ever-intriguing master, is no longer with us. I guess you can never predict when a big musician will leave the world but it is always poignant reflecting on what they provided and the fact we will not get to hear anything from them. Fortunately, in the case of Joni Mitchell, she is still with us and, let’s hope, not far from making some more music. She has not had the best of luck with her health. In 2009, she came out and stated she was suffering from Morgellons syndrome. It is a self-diagnosed skin condition that many believe is a delusional infestation. Mitchell said this thing was incurable and bugging her but that her health in general was as good as ever. In 2015, tragically, we almost lost her after she suffered a brain aneurysm. Mitchell was found unconscious in her L.A. home and regained consciousness whilst in transit to the hospital. There have not been a lot of updates since then but there were reports circulating she was in a coma. As of today, she is not but her health is far from perfect. It makes the idea of a new studio album unlike but not impossible.

Her last album, 2007’s Shine, was her first new work since 1998 and was a great relief to see. Many felt we would not see new material from Joni Mitchell and Shine, whilst simplistic in places, did have a sparseness and sound that harked back to her earliest work. It seems like we might be ambitious to demand new work but I am glad Mitchell is still with us and, gloomy as that sounds, she is an icon that has given the music world endless pleasure, brilliance and genius. Even when her work is a bit more basic – her later work does not match the scope and sharpness of her classic albums – I feel there is still so much to recommend. I have been listening to a lot of songs on Ladies of the Canyon (1970) and you get these sweeping stories and detailed studies. Characters, whether desolate or blissed-out, are set against vivid and tangible landscapes; painted and performed beautifully by Mitchell.  That album contains poignant and desolate character studies like The Arrangement and takes inside apartments, mindsets and moods. Mitchell, even on early albums such as Ladies of the Canyon, was able to deliver with such a sense of command and gravitas that you jumped into the songs. From the down-on-their-luck and overlooked figure of her darker songs; there was the optimism of Woodstock and a generation trying to “get back to the garden” – a sense of hope and community in a rather testing situation.

 IMAGE CREDIT: Getty Images

Whilst one might interpret Woodstock as hopeful there are, in fact, quite hard and strained messages that linger in the mind. Her 1970 work marked a bolder move and break from the slightly simpler stuff she was putting out at the start. Whilst not as accomplished and resonant as the material she would put out only a year later; you can sense this incredible mind starting to blossom and open up. Even a peppy and uplifting song like Big Yellow Taxi is an ecological study where parking lots are paving everything and it seems the natural world is disappearing. It is unsurprising an artist growing up around political tensions and wars would reflect these themes through music but it the consciousness and connection with what is around her that strikes me. I often associate modern songwriting with an insularity and a sense of looking down – artists not always opening their minds to concerns of the world and detailing characters. Although a lot of autobiography would come through soon; some of Mitchell’s best work arrives when she details lovers in cafés and elicit bonds in hotels; smoke-filled rooms and sweethearts passing by; a generation coming together or this strange figure moving and weaving through song. So many modern songwriters bring basic language to personal songs and they can be rather cloying. There are exceptions but few can write anywhere near as strikingly as Mitchell. Consider an album like Blue (1971) and the narrative shifts from widescreen third-person to a more confined and personal line.

 IN THIS PHOTO: Joni Mitchell with James Taylor at her Lookout Mountain cottage, 1971/PHOTO CREDIT: Joel Berstein

Although there are characters and one might think fictional figures are being spoke about; Blue is an intrinsically personal record that showed, even in her twenties, the songwriter could write in a hugely impressive and mature fashion. Mitchell once said her writing and self was as exposed as a wrapping on a packet of cigarettes. She was not hiding anything and her bones, scars and tears were there for the world to hear. Whilst there have been some genius break-up record – Blood on the Tracks by Bob Dylan is considered one of the best – there are few that are as arresting and enduring as Blue. Not only would that album signal a (brief) move from something character-based to personal but it was a huge creative leap. Backed by exceptional musicians and the piano (which came into her music in a more defining and prominent way); Mitchell has arrived as a songwriter – this was her taking a huge leap and, to many, she never made a bigger move. We have a lot of modern songwriters who are confessional and open but you never get that same sense of poetry and literary. Even when she discusses a break-up or loneliness; it is done so in such a moving and intelligent manner that one is hooked and invested.

 IN THIS PHOTO: Joni Mitchell at her Laurel Canyon home (date unknown; around 1968-1970)/PHOTO CREDIT: Henry Diltz/CORBIS

You can hear the spirit of Joni Mitchell in Laura Marling: a songwriter who has the same affinity for language and able to write in a broad and stunning way. Blue is seen as Mitchell’s finest record and you cannot argue against that. Whilst the mood is largely sombre and emotive; there are stunning line and wonderful poetry. Blue’s eponymous track states “Songs are like tattoos” and the immortal “Acid, booze and ass/Needles, guns and grass/Lots of laughs” is (a thought) that provokes the imagination and makes you smile. Songs on Blue documented this passionate and liberation woman who was travelling this road and, at the same time, was scared and excite. She could take a line like “I am on a lonely road, and I am traveling, traveling, traveling, traveling” and make it sound thrilling yet heartbreaking. She was part of the 1970s culture and this liberated, impassioned woman who was drinking in everything around her and wanted her voice to be heard. There was a lot of personal perspective but Mitchell was always inspired by people and scene around and bringing those into music. It is that personal angle that gives the songs more weight and conviction. Not willing to disguise hardship and fraught feelings; this was someone who wanted the listener to be involved and understand her mind.

 IMAGE CREDIT: Getty Images

Even when she was talking about the ups and downs of rootlessness and uncertainty; it seemed like she was speaking to the world and could understand those listening. Listen to songs like River (Blue) and how she wishes she had a river (“I could skate away on”). Maybe the Christmas song is a regret at the lack of snow and winteriness around her; maybe it is that need for escape or a chance to embrace something precious – in a single line, she could convey such intrigue and wonder. The Circle Game (Ladies of the Canyon’s closing track) talks of seasons go around and a carousel of time; not being able to return – only look behind – and go around and around. The use of this charming and traditional setting is a perfect way of talking about life and how it is a circle. In other tracks, Mitchell could document like no other the torment of staying alone and pining for love or embracing it and fear being rejected – Help Me (Court and Spark) perfectly expresses that decision and the unpredictable nature of love. Even when the subject matter was a little more straightforward and common (such as passion and trust) she has a way of writing in a fresh and unique manner. Her vocal prowess and the way she could elongate, twist and emphasise helped bring the layers and magic from the songs.

  IMAGE CREDIT: Getty Images

The more Mitchell steps into Jazz territory – albums such as Court and Spark (1974) were more progressive and experimental than Blue and earlier work – the more vivid and fascinating her visions became. There are people who say her more focused and personal work yielded the most profound lyrics whilst some prefer the songwriter when she was letting her mind wander and taking a different road. Look back to an early album like Clouds (1969) and Chelsea Morning poses the following: “Oh won’t you stay/We’ll put on the day, And we’ll talk in present tenses”. There is then a quirky line about rainbows running away and Mitchell bringing her suitor “incense owls by night”. You can feel that clash of the romantic and alluring with the odd and charming. We have modern-day writers like Laura Marling who can write in a similarly grand and accomplished way but nothing (she has produced) can match the greatness of Joni Mitchell. This fascinating article from Sean O’Hagan in 2013 where he was writing in The Guardian talked about Mitchell’s lyrics and how her creative mind was like no other. The seeds of brilliance were planted early on:

“For a long time, I’ve been playing in straight rhythms,” Mitchell told her friend, Malka Marom, in 1973, in the first of the three extended interviews that are included in Both Sides Now, a new book published next month. “But now, in order to sophisticate my music to my own taste, I push it into odd places that feel a little unusual to me, so that I feel I’m stretching out”…

IN THIS IMAGE: A self-portrait of Joni Mitchell/IMAGE CREDIT: Joni Mitchell/Getty Images 

“Sophistication – melodic, lyrical, compositional – is an undervalued currency in popular music, though it illuminates the finest songs written by artists as diverse as Lennon and McCartney, Randy Newman, Ray Davies, Brian Wilson, Marvin Gaye and Curtis Mayfield as well as the songwriters for hire of an earlier era – Cole Porter, Rodgers and Hart, George Gershwin. It also defines the best songs that Joni Mitchell wrote at her creative peak, which, for me, stretched from the release of Blue (1971), through For the Roses (1972), Court and Spark (1974) and The Hissing of Summer Lawns (1975), to the pared and broodingly atmospheric Hejira (1976)”.

The music arrangements and their sophistication are often overlooked by some. Many focus on the voice and how divisive it can be. Some find her tones and way of singing grating or unappetising: for those with a more refined and educated palette; nobody could sing her songs as powerful and purely. Much more accessible and rounded a voice than Bob Dylan; Mitchell was able to absorb and inspire listeners with her incredible words and striking voice. Her compositions became more layered, deep and ambitious. In interviews; Mitchell professed her love for some of Bob Dylan’s songs but did not think he was all that when it came to compositions and the music. Maybe Dylan was a bit more straight and linear but Mitchell, one cannot deny, could take her music into new realms and project so much emotion, colour and story.

“The sophistication of her songwriting and, in particular, her musical arrangements is the essential element that sets Joni Mitchell apart from her contemporaries and her peers, whether the troubadours of the early 70s Laurel Canyon singer-songwriter scene or lyrical heavyweights such as Leonard Cohen, Neil Young and even Bob Dylan. And yet in the music industry, Mitchell has never really been afforded the kind of respect heaped on her male counterparts. Rolling Stone magazine once listed her at No 62 in its 100 greatest artists of all time, just below Metallica. She was belatedly inducted into the Rock and Roll Hall of Fame in 1997, but did not attend the ceremony. At 70, she remains a defiant outsider and recluse, who has often expressed her disgust at the music business. And who can blame her?”

  IN THIS PHOTO: Joni Mitchell captured in 2015/PHOTO CREDIT: Norman Jean Roy for The Cut 

Although she was not a fan of Dylan’s compositions all of the time; the respect she held for the masterful songwriter was clear:

“There wasn’t much room for poetic description in those older melodic songs,” she noted in a 2003 Canadian documentary, Woman of Heart and Mind. “That’s why I liked the more storytelling quality of Dylan’s work and the idea of the personal narrative. He would speak as if to one person in a song… That was the key that opened all the doors”.

I love how Mitchell, like every icon, was able to switch between albums and did not rest on her laurels. She could have, after Blue, stayed on that course and written in that manner for years. The reviews might have been good but, as Mitchell would have said, that would not be emotionally sustainable! The fragility she felt around the time gave the songs their beauty and truth but they were taking a lot from the creator. Joni Mitchell released six albums between 1968’s Song to a Seagull and 1974’s Court and Spark – 1973 was the only year she did not release a record – and you can feel an evolution and change between the albums. Whilst her musical palette was widening and the artist was maturity; it is the growth and intensity coming through that seemed to define her lyrics by the time of Court and Spark – as O’Hagan documented in his article:

“Despite all these scattered clues, though, Court and Spark came as a surprise. Gone was the fragile, confessional songstress in a flowing dress; instead, here was a confident, full-throated singer in designer threads with a slick electric band in tow. Gone, too, were the acoustic songs sung with just a guitar, piano or dulcimer backing, replaced by an electric, jazz-inflected, intricately arranged sound, courtesy of Tom Scott’s LA Express, that weaved around lyrics that were acutely observational or dazzlingly impressionistic, rather than soul-baringly confessional. When her friend, Malka Marom, author of Both Sides Now, asked her if the band’s presence meant that she might risk the vulnerable singer-songwriter image she had cultivated, Mitchell replied defiantly: “Well, I don’t want to be vulnerable any more.”

Not for the first or last time, Joni Mitchell had moved on and, in doing so, had remade herself in the manner of a true artist”.

IMAGE CREDIT: Getty Images 

Through every year and revelation; the songwriting got bolder and was always curious as to what was around her. Although 1975’s The Hissing of Summer Lawns got a bit of a press kicking; it has inspired many modern-day songwriters:

“Among those who did get The Hissing of Summer Lawns, though, were Morrissey – who called it “the first album that completely captivated me” – and Prince. “Hissing got thrashed,” a defiant but still bruised Mitchell recalls in Both Sides Now. “But meanwhile out there was Prince. That was his first Joni record, and it was his Joni record of all time. So, though it got thrashed by the press, the young artists coming up could see there was something going on there.”

IN THIS PHOTO: Joni Mitchell photoed in 1976/PHOTO CREDIT: Norman Seeff

What was going on was another refinement of style, another burnishing of lyrical and musical sophistication. Both the title track and Edith and the Kingpin dissect the compromises made by women bound by marriage to powerful men. The former has poetry aplenty, her observational skill honed to near perfection as she elaborates the consequences of a hollowed-out life behind the high walls of a mansion in the Hollywood hills: “He gave her his darkness to regret, and good reason to quit him/ He gave her a roomful of Chippendale that nobody sits in”.

In honour of Joni Mitchell’s seventy-five years on the planet; I have ended this piece with a seventy-five-song playlist that, I feel, explores every aspect and sinew of her lyrical body. Whilst her compositions and vocals were (are) magical and like nothing else; how she could present these stories and create such powerful words has inspired me. It is hard to think of a songwriter since Joni Mitchell who has been able to write in the same way and has that distinct pen. That is why, as I was saying, it is hard to lose these icons of music. We hope there are many more years left in Mitchell and she returns to full health very soon. Who knows; even though she is comfortable into her seventy and her glory days are behind; maybe we will all be able to look forward to the day Joni Mitchell…

 IN THIS PHOTO: Joni Mitchell captured in 2015/PHOTO CREDIT: Norman Jean Roy for The Cut 

RETURNS to the studio!

FEATURE: Little Green, Blue and a Big Yellow Taxi: Joni Mitchell at Seventy-Five: Her Eight Most Essential Albums

FEATURE:

 

 

Little Green, Blue and a Big Yellow Taxi

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

Joni Mitchell at Seventy-Five: Her Eight Most Essential Albums

__________

I might have another Joni Mitchell piece in me…

 IN THIS PHOTO: Joni Mitchell in April 1983/PHOTO CREDIT: Laurie Lewis

but I wanted to say, first, a happy seventy-fifth birthday to her – so let’s get the ball rolling by collating together her eight finest albums! That might seem like an arbitrary number but I feel there is tough competition regarding her back catalogue and many people often assume her with the one album, Blue. Mitchell has suffered ill health in the past – which I might investigate in a later piece – but I know the Queen of Folk and music icon is loved by millions and everyone hopes she will be able to recover and record another album.

As we mark the special birthday of one of music’s finest poets and figures; I have brought together seven albums that display Mitchell’s exceptional talents and show why she is one of music’s true treasures. For each, I have brought together a little background; a critical review and highlighted the standout track – and put the full album available via Spotify. Have a look at the rundown and assembly and get involved with some magnificent Joni Mitchell gold! As we all raise a glass to the legendary songwriter; here are some wonderful albums that are a perfect introduction…

 PHOTO CREDIT: Getty Images

TO a true and peerless icon.

ALL ALBUM COVERS: Getty Images

______________

Number-One: Blue (1971)

Release Date: 22nd June, 1971

Label: Reprise

Producer: Joni Mitchell

Background:

“Despite the success of her first three albums and songs like "Woodstock", January 1970 saw Mitchell make a decision to break from performing. In early spring 1970, she set off on a vacation around Europe.[12] While on the island of Formentera, she wrote some of the songs that appear on Blue.[13] This journey was the backdrop for the songs "Carey" and "California".[14] Some of the songs on Bluewere inspired by Mitchell's 1968-1970 relationship with Graham Nash.[14] Their relationship was already troubled when she left for Europe, and it was while she was on Formentera that she sent Nash the telegram that let him know that their relationship was over.[14]The songs "My Old Man"[14] and "River"[15] are thought to be inspired by their relationship” – Wikipedia

Review:

“1971's Blue is possibly the most gutting break-up album ever made. After Mitchell's relationship with Nash dissolved, she headed to Europe to lose the tether of her fame, eventually taking exile in a cave on the Greek island Crete. The trip would inspire the how-Joni-got-her-groove-back ditties "Carey" and "California". The album is suffused with melancholy for all that is missing: her daughter ("Little Green"), innocence ("The Last Time I Saw Richard"), and connection ("All I Want"). Mitchell bleeds diffidence and highlights it with spare notes plucked out on her Appalachian dulcimer. While her pals Neil Young, Leonard Cohen, and Laura Nyro were also pushing the singer-songwriter genre forward, none of them managed to stride the distance that Mitchell did here in a single album” – Pitchfork

Standout Track: Blue

Number-Two: Ladies of the Canyon (1970)

Release Date: March 1970

Label: Reprise

Producer: Joni Mitchell

Background:

“The album is notable for its expansion of Mitchell's artistic vision and its varied song topics (ranging from the aesthetic weight of celebrity, to observation of the Woodstock generation, to the complexities of love). Ladies of the Canyon is often viewed as a transition between Mitchell's folky earlier work and the more sophisticated, poignant albums that were to follow. In particular, "For Free" foreshadows the lyrical leitmotif of the isolation triggered by success that would be elaborated upon in For the Roses and Court and Spark. The sparse, alternate-tuning laden sound of later records comes to the forefront on "Ladies of the Canyon" (one of those "ladies" supposedly being female underground comix pioneer Trina Robbins)[12]” – Wikipedia

Review:

“Songs here take many moods, ranging from the sunny, easygoing "Morning Morgantown" (a charming small-town portrait) to the nervously energetic "Conversation" (about a love triangle in the making) to the cryptically spooky "The Priest" (presenting the speaker's love for a Spartan man) to the sweetly sentimental classic "The Circle Game" (denoting the passage of time in touching terms) to the bouncy and vibrant single "Big Yellow Taxi" (with humorous lyrics on ecological matters) to the plummy, sumptuous title track (a celebration of creativity in all its manifestations). This album is yet another essential listen in Mitchell's recorded canon” – AllMusic

Standout Track: Woodstock

Number-Three: Court and Spark (1974)

Release Date: 1 January, 1974

Label: Asylum

Producers: Joni Mitchell, Henry Lewy

Background:

“1973 was the first year since she began recording that Mitchell did not release a new album. Her previous offering, For the Roses, was released in November 1972 to critical and commercial success, and Mitchell decided to spend the whole of the next year writing and recording a new album that revealed her growing interest in new sounds—particularly jazz. During 1973, her stage appearances were fewer than in previous years. She performed in April in a benefit concert at the Sir George Williams University Auditorium and then appeared live again in August, twice at The Corral Club, accompanied by Neil Young.

Mitchell spent most of 1973 in the recording studio creating Court and Spark. Mitchell and producer/engineer Henry Lewy called in a number of top L.A. musicians to perform on the album including members of The Crusaders, Tom Scott's L.A. Express, cameos from Robbie Robertson, David Crosby & Graham Nash and even a twist of comedy from Cheech & Chong” – Wikipedia

Review:

“Lyrically, Mitchell is at her sharpest—and occasionally wittiest—on tracks such as the album’s jaunty first single “Raised On Robbery,” the light n’ jazzy “Free Man In Paris” (long said to be about record exec David Geffen) and the aforementioned “People’s Parties.” Whether she’s ruminating on love found and lost (capturing the quagmire of emotions with one simple line: “Laughing and crying/You know it’s the same release”) or the pitfalls of her newfound celebrity (she would continue to rally against “the star-making machinery behind the popular songs” throughout her career), Mitchell is, with Court and Spark, represented at the peak of her talents for crafting song-stories that are simultaneously inventive, intricate, and unfailingly melodic. And while many of today’s artists have exhibited shades of such talent, not many—of either gender—have been able to match such a dizzying height. Thus, also taking into consideration its mid-‘70s California dreaminess, Court and Spark is not only the best soundtrack to a Sunday morning ever made, it’s also an essential, timeless artifact of an era when pop could be both popular and personal, and would be rewarded critically and commercially for such qualities” – SLANT

Standout Track: Free Man in Paris

Number-Four: Clouds (1969)

Release Date: 1 May, 1969

Label: Reprise

Producers: Joni Mitchell, Paul A. Rothchild

Background:

“After moving to New York City and signing to Reprise Records in 1967, Mitchell recorded her 1968 debut album Song to a Seagull with producer David Crosby. The album was a mostly acoustic set of songs, some of which were subsequently covered by more successful singers. Consequently, Mitchell received more outside exposure and began to earn a strong cult following.[1]

Mitchell recorded Clouds at A&M Studios in Hollywood and played acoustic guitar and keyboards; she was joined by Stephen Stills on guitar.[2] She produced all of the album's songs, except "Tin Angel", which was produced by Paul A. Rothchild.[3] She also painted the album's cover artwork—a self-portrait.[4]

Two songs, "Chelsea Morning" and "Both Sides, Now", had already been recorded by other singers by the time Mitchell started work on the album.[5] Mitchell wrote "Both Sides, Now" after reading Saul Bellow's 1959 novel Henderson the Rain King on a plane and drawing on a point in the novel where the protagonist is looking at clouds from a plane.[6] The coincidence inspired the song's lyric about looking at clouds from both sides as a metaphor for life's ambiguities and mysteries, as she explained in a 1967 interview, "I dreamed down at the clouds, and thought that when I was a kid I had dreamed up at them, and having dreamed at the clouds from both sides as no generation of men has done, one should be able to accept his death very easily."[6]” – Wikipedia

Review:                                                                   

“Clouds (1969) is the introduction to Mitchell's real deal, shaking folk tradition and giving off a little humor and spirit. The album sounds casual. Lyrically, she was transitioning from the era's de facto hippie sensualism (colors! the weather! vibes!) to the classically prosodic style (Keats! Cohen!) she'd become known for. The album's biggest signs of life are two of her most famous songs-- the kicky "Chelsea Morning", which is about as straightforward as Mitchell ever got, and "Both Sides Now". Though she'd known burden and heartache plenty by her still-tender age (she'd borne a child alone and in secret after dropping out of art school and married singer Chuck Mitchell in order to make a family; he changed his mind a month later and she put the baby up for adoption) she sounds a bit too young and chipper to be singing about disillusionment. Still, Clouds was a landmark, and she landed a Grammy for Best Folk Performance” – Pitchfork  

Standout Track: Both Sides Now

 

Number-Five: For the Roses (1972)

Release Date: November 1972

Label: Asylum

Producer: Joni Mitchell

Background:

“It is perhaps best known for the hit single "You Turn Me On, I'm a Radio", which Mitchell wrote sarcastically out of a record company request for a radio-friendly song. The single was indeed a hit, reaching #25 on the Billboard Hot 100 charts, becoming Mitchell's first top 40 hit released under her own name (as a songwriter, several other performers had had hits with songs that she had written). "Cold Blue Steel and Sweet Fire" — a menacing and jazzy portrait of a heroin addict — and the Beethoven-inspired "Judgment of the Moon and Stars" were also popular.

Some of the songs were inspired by Mitchell's 1970-1971 relationship with James Taylor. Despite his difficulties, Mitchell evidently felt that she had found the person with whom she could pair-bond in Taylor. By March 1971, his fame exploded, causing friction. She was reportedly devastated when he broke off the relationship.[3] By November 1971, he had taken up with Carly Simon, whom he married a year later” – Wikipedia  

Review:                                                                   

“On For the Roses, Joni Mitchell began to explore jazz and other influences in earnest. As one might expect from a transitional album, there is a lot of stylistic ground explored, including straight folk selections using guitar ("For the Roses") and piano ("Banquet," "See You Sometime," "Lesson in Survival") overtly jazzy numbers ("Barangrill," "Cold Blue Steel and Sweet Fire," and hybrids that cross the two "Let the Wind Carry Me," "Electricity," "Woman of Heart and Mind," "Judgment of the Moon and Stars"). "Blonde in the Bleachers" grafts a rock & roll band coda onto a piano-based singer/songwriter main body. The hit single "You Turn Me on I'm a Radio" is an unusual essay into country-tinged pop, sporting a Dylanesque harmonica solo played by Graham Nash and lush backing vocals. Arrangements here build solidly upon the tentative expansion of scoring first seen in Ladies of the Canyon. "Judgment of the Moon and Stars" and "Let the Wind Carry Me" present lengthy instrumental interludes. The lyrics here are among Mitchell's best, continuing in the vein of gripping honesty and heartfelt depth exhibited on Blue. As always, there are selections about relationship problems, such as "Lesson in Survival," "See You Sometime," and perhaps the best of all her songs in this genre, "Woman of Heart and Mind." "Cold Blue Steel and Sweet Fire" presents a gritty inner-city survival scene, while "Barangrill" winsomely extols the uncomplicated virtues of a roadside truck stop. More than a bridge between great albums, this excellent disc is a top-notch listen in its own right” – AllMusic   

Standout Track: For the Roses

 

Number-Six: The Hissing of Summer Lawns (1975)

Release Date: November 1975

Label: Asylum

Producer: Joni Mitchell

Background:

“The first track, "In France They Kiss on Main Street", is a jazz-rock song about coming of age in a small town in the 1950s rock & rollera. (The song was released as the single from the album and reached number 66 on the Billboard charts.) "The Jungle Line" uses a field recording from Africa of the Drummers of Burundi (called 'warrior drums' in the credits), onto which are dubbed guitar, Moogsynthesizer and the vocal line. The lyrics pay homage to the works of the French Post-Impressionist painter Henri Rousseau. Mitchell blends details of his works with imagery of modern city life, the music industry and the underground drug culture.

"Edith and the Kingpin" marks a return to jazz in a story of a gangster's new moll arriving in his home town. "Don't Interrupt the Sorrow" is an acoustic guitar–based song with stream-of-consciousness lyrics, focused on women standing up to male dominance and proclaiming their own existence as individuals. "Shades of Scarlett Conquering" is an orchestral-based piece about a modern southern belle basing her life and self-image on the stereotypes of the Scarlett O'Hara character from Gone with the Wind” – Wikipedia

Review:

“Joni Mitchell evolved from the smooth jazz-pop of Court and Spark to the radical Hissing of Summer Lawns, an adventurous work that remains among her most difficult records. After opening with the graceful "In France They Kiss on Main Street," the album veers sharply into "The Jungle Line," an odd, Moog-driven piece backed by the rhythms of the warrior drums of Burundi -- a move into multiculturalism that beat the likes of Paul Simon, Peter Gabriel, and Sting to the punch by a decade. While not as prescient, songs like "Edith and the Kingpin" and "Harry's House -- Centerpiece" are no less complex or idiosyncratic, employing minor-key melodies and richly detailed lyrics to arrive at a strange and beautiful fusion of jazz and shimmering avant pop” – AllMusic

Standout Track: In France They Kiss on Main Street

 

Number-Seven: Shine (2007)

Release Date: 25th September, 2007

Labels: Hear Music, Universal

Producer: Joni Mitchell

Background:

“In 2002, Joni Mitchell famously left the music business. The public first learned that she had returned to writing and recording in October 2006, when she spoke to The Ottawa Citizen. In an interview with the newspaper, Mitchell "revealed she's recording her first collection of new songs in nearly a decade" but gave few other details.[13]

Four months later, in an interview with The New York Times, Mitchell said that the album was inspired by the war in Iraq and "something her grandson had said while listening to family fighting: 'Bad dreams are good—in the great plan.'"[14]

The Sunday Times wrote in February 2007 that the album has "a minimal feel, a sparseness that harks back to her early work," adding that "rest and some good healers" had restored much of the singer's vocal power.[15] Mitchell herself described Shine as "as serious a work as I've ever done."[15]

The album was launched at the Sunshine Theater on Houston Street, New York City, on September 25, 2007, with a film of the Alberta Ballet performing The Fiddle and the Drum, a ballet devised by choreographer Jean Grand-Maître in collaboration with Mitchell that had premiered in Calgary on February 8 that year. The ballet uses a selection of Mitchell's songs, including "If I Had a Heart" and "If" from Shine, along with images from her art installation Flag Dance, which are projected as a backdrop.[16] The album cover features a scene from The Fiddle and the Drum.

Shine is only the second Joni Mitchell album never to have been distributed by Warner Music Group, the first being Night Ride Home, which was released by Geffen Records after the company was sold to MCA” – Wikipedia

Review:

“War and ecological blight are the twin evils that preoccupy Shine. Mountains are levelled, 'babbling cellphone zombies' crowd the malls, earth has become 'a funeral pyre'. On 'Strong and Wrong' Joni names the guilty party: 'Men love war, that's what history is for, his story...'

Mitchell's despondence may be understandable, but for a mistress of the muse, this is desperately simplistic stuff, as if she's just noticed that the bombers didn't turn into butterflies. A new version of 1970's 'Big Yellow Taxi', wisely kept close to her original, reminds us she's been here before - and how much more deftly.

It isn't all doom. The opening track, 'One Week Last Summer', is a joyous instrumental for a perfect North Pacific day. 'Night of the Iguana' distils Tennessee Williams's acclaimed play, and 'If' improbably recycles Rudyard Kipling's homage to the stiff upper lip.

Best is the title track, a roll call of compassion that embraces the darkness of 'Frankenstein technologies' and the hope of 'a safe place for kids to play/ bombs exploding half a mile away'. Both sombre and defiant, it's Mitchell at her finest” – The Observer

Standout Track: Night of the Iguana

Number-Eight: Hejira (1976)

Release Date: November 1976

Label: Asylum

Producer: Joni Mitchell

Background:

“According to Mitchell, the album was written during or after three journeys she took in late 1975 and the first half of 1976. The first was a stint as a member of Bob Dylan's Rolling Thunder Revue in late 1975. During this time period, she became a frequent cocaine user, and it would take several years for her to kick the addiction.

In February 1976, Mitchell was scheduled to play about six weeks of concert dates across the US promoting The Hissing of Summer Lawns. However, the relationship between Mitchell and her boyfriend John Guerin (who was acting as her drummer on the string of dates) soured, possibly due to Mitchell's fling with director Sam Shepard during the Rolling Thunder Revue. Tensions became so fraught that the tour was abandoned about halfway through.

The third trip came soon after when Mitchell traveled across America with two men, one of them being a former lover from Australia. This trip inspired six of the songs on the album. She drove with her two friends from Los Angeles to Maine, and then went back to California alone via Florida and the Gulf of Mexico. She traveled without a driver's licence and stayed behind truckers, relying on their habit of signaling when the police were ahead of them; consequently, she only drove in daylight hours.[10][11]

During some of her solo journeys, Mitchell donned a red wig, sunglasses, and told the varying strangers she met that her name was either "Charlene Latimer" or "Joan Black."[12]Despite the disguise, Mitchell was still sometimes recognized” – Wikipedia

Review:

“It is to Joni Mitchell’s credit that she comes to no glib conclusions. The conflict between freedom for art’s sake and the need for love forms the basis of most of her songs, and it is her uncertainty, the alternating warmth and chill, which is most fascinating. But if Mitchell is not always inviting, she is never complacent. With Hejira she redefines the elements of her music with as much courage as when she scrutinizes her aims and motivations. And despite the songs of love lost and plans changed, despite the urgent, often stark consciousness of mortality and the absence of comfortable solutions, Hejira is a curiously optimistic album. In “Black Crow,” Mitchell sings, “In search of love and music/ My whole life has been/ Illumination/ Corruption/ And diving, diving, diving, diving…,” her voice swooping and spiraling on the repeated word. That is what Hejira is about: it is not the answers that are most important but the search itself” – Rolling Stone    

Standout Track: Coyote

INTERVIEW: Matt Mays

INTERVIEW:

Matt Mays

___________

I have been speaking with Matt Mays…

about his latest single, Station Out of Range, and his new album, Twice Upon a Hell of a Time… He reveals the inspirations behind the album and which artists he responds to; when music came into his life and the three albums that mean the most to him.

The Canadian artist looks ahead regarding plans for 2019 and reveals some rising musicians we need to follow; whether he gets time to chill away from music and if he is coming to the U.K. to play – he ends the interview by selecting a classic cut.

__________

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

I’m well, bud! It’s been a great week. Still on the sunny side of the grass! 

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

Hello. I’m Matt. 

Can you tell me about the track, Station Out of Range. Is there a story behind that?

It’s a song about giving up trying to make things in a relationship. The words are about the bummer part of it and the music is about the relief in the freedom you get when life starts again. 

Twice Upon a Hell of a Time… is your album. What themes inspired it and what is the tale behind the title? 

It’s an album about the loss of love and, at the same time, was a grieving process to help deal with the loss of two very close friends. The title comes from the first electric version of this record called Once Upon a Hell of a Time…. I like the idea of ‘hell of a time’ maybe being a good time or a bad time. 

How did music come into your life? What sort of sounds did you grow up around?

I was really lucky to be raised around a great record collection. Everything was very ‘great song’-based. Dylan etc...

Do you already have plans for 2019?

A lot more touring with a mellower acoustic set up. It’ll be nice to put the blazing electrics down for a bit. And always a ton of songwriting and recording. 

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

Levon Helm once invited me to come and play at his house for a midnight ramble in Woodstock. He called me up on stage to rip a guitar solo. He stared me down hard the entire solo smiling and screaming at me the whole time to keep taking it higher. It was nuts. He invited us back to his kitchen table after we smoked 6 joints while he gave us advice and told us some killer stories. 

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

The answer to that question changes daily. Today’s picks are...

Zuma - Neil Young and Crazy Horse

It’s a perfect album because the human element is the backbone of the record. Like most of Neil’s albums. 

Natty Dread - Bob Marley

I stumbled upon this album when I was in junior high school. Bought it because the cover looked cool. The journey it took me on is beyond words. Still takes me there today. 

Songs from Northern Britain - Teenage Fanclub

Getting to hear that kind of guitar power behind such sensitive songs blew my mind to pieces. 

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

Social Distortion and Lucky Charms. 

What advice would you give to new artists coming through?

If you start thinking; play until you stop thinking THEN hit the record button. 

What do you hope to achieve by the end of 2018?

Keep playing, make more music! 

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

Playing a little winter tour in the new year to support Twice Upon a Hell of a Time… and hopefully coming back over to the motherland to play soon! 

Might you come to the U.K. and play soon?

No plans but hoping for more in 2019!

 IN THIS PHOTO: Adam Baldwin/PHOTO CREDIT: Michelle Balderson

Are there any new artists you recommend we check out?

Adam Baldwin. His songs make me cry and dance all at the same time. 

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

Surfing is my first love. I grew up on the briny coast of Nova Scotia so there were lots of waves to ride. It’s taken me around the world to lots of beautiful places over the years. 

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

It Keeps Me Up by Museum Pieces

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Follow Matt Mays

Official:

http://www.mattmays.com/

Facebook:

https://www.facebook.com/mattmaysmusic/

Twitter:

https://twitter.com/mattmays

Spotify:

https://open.spotify.com/artist/0VlFTYaJsPHdN3Vb3EvBsn

Instagram:

https://www.instagram.com/mattmaysmusic/

PHOTOS:

Lindsay Duncan

INTERVIEW: Favours

INTERVIEW:

Favours

___________

THE splendid Favours…

have been discussing their new single, Stowaway, and revealing its themes; what it was like filming the video and how they all got together – I ask whether there are any tour dates coming up and if there are some rising artists we need to get behind.

I discover which artists and sounds are important to the band and how they got together; whether there are plans ahead for 2019 and what advice they would give artists emerging – they reveal which artist they’d support on tour if they had the opportunity.

__________

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

We are splendid and enjoying the extra hour we got back on the weekend. We’re spending it writing lots of new dreamy tunes.

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

We are an Indi, Synth-Rock four-piece from Toronto, Canada. We take influence from '80s and '90s Brit-Rock and the Indie we grew up on. We’re your best friends always there to lend a hand, in exchange for some Favours in return.

Stowaway is your latest track. What is the story behind it?

The song is about a love affair and the lyrics urge the listener to move past tired narratives and into a blissful escape. Stowaway was written during a road trip from the gloomy cold Canadian climate while driving south to the enchanted Muscle Shoals.

The video looks like it was great to film. How did the concept come about?

We love making videos and we used Stowaway as a chance to make our own technicolour dream. We wanted to recreate some our favourite moments from the movie Blow Up, as well as add some of our on flavour.

Do you think there will be more material coming along?

You should definitely be expecting more music very soon! We are in the process of writing and recording the rest of our first E.P., which we are hoping to release in February 2019.

How did Favours meet? When did you get together?

Favours banded together after some of the members had taken a hiatus from playing music with other bands. We couldn’t help it and it dragged us back in with a face.

What sort of music/styles is the band inspired by? Are you all bonded by similar tastes?

We all enjoy the same music but most of all we’re very open-minded and love all arts. We love everything from Brit-Rock to R&B.

What do you hope to achieve by the end of 2018?

By the end of 2018, we will have released our first two singles and played as many shows as we could squeeze in. Lots more to come!

Do you already have plans for 2019? -

BIG plans for 2019. Look out for lots of music to be released and some big tours if all goes well.

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

As Favours, one of our favourite moments has to be playing with The Zolas for one of our first shows. They selected us to open for their sold out show over Instagram. Amazing musicians and even better people.

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

Album: You Forgot It in People - Broken Social Scene

Solidified my high-school foray into Indie and probably the reason I came to Toronto.

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

Maybe New Order or The Stone Roses. Both legends; both have had a large effect on our sound in one way or another.

What advice would you give to new artists coming through?

As a new artist ourselves, we’re still trying to figure it out! Send advice our way; we need it!

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

We have many shows in Canada planned for this month.

London, Ontario: Nov. 15

Ottawa, Ontario: Nov. 22

Montreal, Quebec: Nov. 23

Toronto, Ontario: Nov. 30

 IN THIS PHOTO: The Marias

Are there any new artists you recommend we check out?

We all really like The Marias. Their sound seems timeless, as well as Men I Trust. Love both those groups. 

 IN THIS PHOTO: Men I Trust

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

We all have our own side-passions and love affairs but typically I unwind by going for hikes and enjoying nature. Maybe taking some photographs along the way.

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

Broken Social Scene - Lover’s Spit 

The Marias - Cariño

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Follow Favours

Facebook:

https://www.facebook.com/favoursband/

Twitter:

https://twitter.com/bandfavours

Spotify:

https://open.spotify.com/artist/6ITmkLaaKOscYl6M2Btipq?si=KNbZ3JdFQOCvmtF-_mxN0g

Instagram:

https://www.instagram.com/favoursband/

YouTube:

https://www.youtube.com/channel/UCjNoJBC4w1cA7rxic5jFTMw

SoundCloud:

https://soundcloud.com/favoursband

INTERVIEW: Libby Whitehouse

INTERVIEW:

Libby Whitehouse

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I am starting off the day by speaking with Libby Whitehouse…

who has been telling me about her single, New Boy, and its inspiration. I ask her whether there is more material coming and what sort of music compels her; what Brighton is like as a base and the rising artists we need to get involved with.

Whitehouse tells me about her music idols and albums that mean the most to her; if there are gigs coming up and whether she draws a lot from personal stories/moments for music – she provides some useful advice for songwriters coming through.

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

Hey! Very good, thank you. How’s yours been?

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

Sure! Hi. I’m Libby Whitehouse. I’m an eighteen-year-old singer songwriter from Brighton and my music is a mix of Pop, R&B and Dance music. I like to think of my music as empowering to girls all across the world (smiles).

New Boy is your new single. What is the story behind the song?

I wrote New Boy based on one of my friends getting treated badly by a boy and, like all boys do, he came running back. It’s a message stating girls won’t wait around forever and she’s much happier now.

Do you draw a lot from your personal experiences when it comes to music?

Yes, definitely, but also my friend’s experiences - and I like to put myself in other people’s shoes too!

Might we see more material next year? How far ahead are you looking?

Yes, definitely! We’ve already had talks about releases, shows; E.P.s and videos for next year so you’ll have to wait and see.

Being based in Brighton; what is it like there in terms of music? Is it a great place to create and think?

Brighton is an amazing place to live but also a really nice place to write and create music. I love London as it’s so fast-paced and motivating, whereas Brighton is buzzy but is a bit more relaxed. Writing music in the summer is so easy living in Brighton as we’re right by the sea.

Do you have particular music idols or artists you grew up around?

I have lots of artists I look up to, one being Alicia Keys (ever since I was little). Right now, I really look up to Raye and Ella Mai.

What do you hope to achieve by the end of 2018?

By the end of 2018, I hope people are just excited about my music as I am! Especially for 2019!

Do you already have plans for 2019?

Yes. Lots of plans for 2019!

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

Yes, definitely, there’s a few. one being the music video; one being the video featured on Clash and the others basically being anytime I get to perform! Sorry, I couldn’t pick one!

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

Nothing Was the Same by Drake (it brings backs so many memories from growing up and was the first album I ever got into); Purpose by Justin Bieber (lots of memories too and was one of the first albums that I would listen to when I started writing music to get influence). I love Rihanna’s ANTI album and Frank Ocean’s Blond album (sorry, I over picked again. Haha). They’re my favourite!

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

I don’t have any tour dates at the moment actually but that’s something I would love! (Smiles). You can catch me on 13th November at The Haunt in Brighton for my E.P. launch party.

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

Ooo, good question! I would love to support Khalid, Raye or Dua Lipa as I love them all as artists and their audiences are similar to the audience listening to my music I think (smiles). I wouldn’t ask for much - just for lots of sweets and a personal photographer.

What advice would you give to new artists coming through?

My advice to any artist starting off would be to never compare your journey to anyone else’s and always remember exactly the type of music you want to do and the artist you want to become. Don’t let anyone change that; also that it’s not going to always be easy but that’s how you pick yourself back up!

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

Are there any new artists you recommend we check out?

Yes. I’m loving Imani and Grace Carter at the moment. Grace is also from Brighton so have to share the love.

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

Even when I have days off, I’m still coming up with ideas. I usually see my friends and boyfriend but spend most of the time with my dog. He’s my real best friend.

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

Oh, perfect! I love Better by Khalid or Happier by Marshmello and Bastille, so whichever one you prefer out of them (smiles).

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Follow Libby Whitehouse

Facebook:

https://www.facebook.com/LibbyWhitehouseOfficial/

Twitter:

https://twitter.com/libbywhitehouse

Spotify:

https://open.spotify.com/artist/0myPBTBG3ODlKVBEf5OSBe?si=3N7QRyNUSWi1DyYDNjusMw

Instagram:

https://www.instagram.com/libbywhitehouse/

YouTube:

https://www.youtube.com/channel/UCa8y_DMTTA3qjDaGFD1QUtg

INTERVIEW: Tim Aminov

INTERVIEW:

Tim Aminov

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I have been talking with Tim Aminov…

about his new track, Veneno, and whether we might some more material coming soon; which artists and albums are important to him and how the Russian Electronic artist got his start – Aminov recommends some rising artists we need to get involved with.

I ask if there are any goals for 2019 in his mind and what he wants to achieve before the end of the year; what the music scene is like in Russia and if there are any gigs coming soon – Aminov chooses a great song to end the interview with.

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

Hi, Music Musings! All good here. Moscow has a specific, quick tempo of living; we are trying to get 200% from each day here. That's a great vibe – but exhausting sometimes.

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

I am sure that music itself can tell more than the author: listen my music and it will tell everything. If you wanna know some ‘technical details’: I have been on the Russian scene since 2015  (firstly as part of the duo AANBREKEN and then as a solo artist) and got some ‘hype’ last year with music videos for One Lone Survivor and Orpheus; directed by my genius pal Lado Kvatania.

 

Veneno is your latest song. Can you explain the story behind the track?

I had produced the demo for Veneno pretty quick - in three hours or less. I spent many more days writing texts, recording live instruments and mixing track. Live piano and drums had been recorded in Moscow; other instruments and vocal were recorded in Saint-Petersburg. The mixing was made by my close friend Roman Uzarov.

The video for this track will be released quite soon - it's not a usual music video, but a short-length movie with its own vibe and synopsis. Wait a bit to watch it and get the extended experience.

Might we see more material next year?

Sure! Currently I’m working on my first L.P. It seems like it will be pretty different from my early tracks.

How does life as a solo artist compare the work you did in the duo AANBREKEN?

I can't say that there is big difference. I record most vocals by myself. Technically, now, I work as a solo artist – but, now, I collaborate with a much larger number of talented people than in the days of AANBREKEN.  

Are there particular musicians you draw inspiration from? Did you grow up around a lot of music?

My parents are not music lovers - though, my granddad composed the state anthem of Turkmenistan. Does this count as inspiration?

I listened to tons of music; I always did. I was fond of different music, even polar genres. I was fond of Experimental, Electronic; Hip-Hop, Math-Metal; Ambient…all of this. Nowadays, I am listening more to Soul/R&B stuff and Electronic music. But, sometimes, I can be in a proper mood for a Deftones album. I have never felt any limits for my music taste.

In terms of Electronic music; do you get influence from modern artists or do you source from classic innovators?

Not gonna lie you; I constantly look after modern music trends. I think that music art should be actual/real - but it also should be authentic and personalised. So, I always try to look deeper; dig the roots of the new music. It helps me to look at the music with different angles.

As a Russian producer and writer; what is the music scene like there at the moment?

The Russian modern scene is flooded with Hip-Hop. It has occupied all media sources – I guess the same happens everywhere now. Russia has its own, great Electronic and Pop music as well. Though, I think, the real modern music culture is just boring here. I hope that the next generation of Russian artists will bring something really beautiful and significant to this world.

What do you hope to achieve by the end of 2018?

The music video for Veneno track should be released later this year. Also; I am planning to release a couple of live music videos and to play an intimate gig in Moscow. Also; I will release a soundtrack for the short movie, The First, directed by my friend Lado Kvatania. It’s a fiction movie about a Russian astronaut (cosmonaut); it has won a few awards this year and will be available online quite soon.

Do you already have plans for 2019?

2019 will be very special for me. I’m gonna release an L.P, finally; take part in a few festivals and release more videos.

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

Mezzanine by Massive Attack

This album was released twenty years ago but it sounds fresh still. I don’t know how they had produced this album. I guess 3D had to sell his soul to the Devil to make things work that brilliant way.

White Pony by Deftones

Unbelievable, emotional record.

I will not name a third record because this slot is reserved for different records (that changes too often).

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

I like Childish Gambino. He is an incredible person and has unlimited talent. I'd love to have a coffee talk with him and make a collab.

What advice would you give to new artists coming through?

The most important thing is to know what you want and to be honest with yourself. This advice works for new artist and for old ones as well.

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

I am working on my gig schedule. Follow me on Facebook to get all news first.

 IN THIS PHOTO: Big Red Machine

Are there any new artists you recommend we check out?

Big Red Machine, GAIKA; Corbin and Ibeyi

 IN THIS PHOTO: GAIKA/PHOTO CREDIT: Wunmi Onibudo

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

Yep. I often take days off to relax and reboot my brain. Tomorrow, I fly for a week to Istanbul and I’m gonna walk and read a new book about Buddha.

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

Yesterday, I attended a gig by Bobby McFerrin and it was great experience. So, let's listen to his track, Circle Song 6 

___________

Follow Tim Aminov

Facebook:

https://www.facebook.com/timaminov777

Twitter:

https://twitter.com/timaminov

Spotify:

https://open.spotify.com/artist/2EeN5OHJCbQkRv3V7XwohU?si=TxYbHIYUSqOWEaAsnKuetQ

SoundCloud:

https://soundcloud.com/timaminov

Instagram:

https://www.instagram.com/timaminov/

YouTube:

https://www.youtube.com/timaminov

FEATURE: Do You Remember the First Time…? Digging Deeper into the Music and Memories Behind the Musician

FEATURE:

 

 

Do You Remember the First Time…?

IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

Digging Deeper into the Music and Memories Behind the Musician

__________

IF you are not familiar with Matt Everitt’s…

IN THIS IMAGE: The cover for Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION(S) CREDIT: Tim Marrs

new book, The First Time: Stories & Songs from Music Icons, then you need to get some pennies out and buy it! If you can; it might be worth going to a local bookshop as, I think, the Amazon price is a bit less than the retail one…I am not sure – we want as many pennies as possible to go Everitt’s way! The point of this feature is to have a look at the book and why it will strike a chord with any music-loving human. Brought out through Laurence King Publishing and with fantastic illustrations by Tim Marrs; The First Time: Stories & Songs from Music Icons is a labour of love that looks gorgeous and is well worth spending some time with. I have not seen a review of the book myself – maybe it will be a few more days yet – but have had a flick through the book and am blown away by the sheer colour, detail and revelations you get! I will probably do a proper review when I have finished but, looking through, you get these beautifully illustrated and written interviews with figures such as Yoko Ono and Damon Albarn. Covering genres, ages and periods of musical history; each artist has their own section and you get fantastic illustrations of them. There are lists of their first gigs and records and memories. What I love about the book is it is written by someone who has been interviewing huge artists for years and has that passion to learn more about them and reveal stuff other interviewers do not…

IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

The book is based off of the radio series Matt Everitt conducts and he has selected a mass of interviews from his years and brought them together in a wonderful collection. I love how you get illustrations and a unique portrait of the artist – it is a more artistic approach and means we do not have to see the same stock images of them – and you get a standout quote at the top of the first page (regarding that artist and their interview). We learn about their first gigs and records and all these important moments. I am a big fan of musicians like Sir Elton John and Florence Welch and it is good to sit in a café and flick through these pages and learn about their musical upbringing. The book requires some patience and study – it is a thorough and spellbinding collection of artists and a deep dive into their history – and it is written beautifully. I believe it took Everitt about three years to bring together – it would have taken me about a decade! – and you can feel the love and passion go into every page. It is a beautiful thing and if you can wait until Christmas; I suggest it would be a perfect stocking filler (you might need to reinforce the stocking as the book is a pretty chunky ol’ thing!).

 IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (depicting the Blur and The Good, the Bad & the Queen mercurial frontman, Damon Albarn)/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

Fewer young music fans are reading and Everitt’s radio broadcasts are probably the most accessible way of listening to The First Time with… My favourite instalment of his show was with Thom Yorke and, as I shall explore later, it is rare to see a lot of famous musicians speak. You get these magazine interviews but the questions can be generic and brief. One gets interviews on radio stations but, again, you always feel like someone is in the corner tapping their watch and doing the ‘wind it up’ symbol. They are then ferried across town and embark on this rotation of brief interviews. One reason why I love Everitt’s radio show (on BBC Radio 6 Music) is that there is time to swim and vacillate; a bit of a moment to muse and stroke the chin; time to crack wise and have a gone old chinwag! Not only does it (the show) make the artist comfortable and not rushed but it is a rare opportunity to look back on their past and how they got into music. Everitt is a masterful interviewer who has that ready wit and can get the best from an artist. The book brings all that to light and no details are skimped. One of my music dreams is to do the music news for BBC Radio 6 Music – as narrow and ambitious as that is – and it is wonderful to learn from their top dog (or horse as breakfast host Shaun Keaveny calls him!).

 IN THIS PHOTO: Matt Everitt (left) with Shaun Keaveny (right) in a promotional photo for their interview to celebrate The First Time: Stories & Songs from Music Icons’ launch where Keaveny turned the tables on Everitt and ‘grilled’ him about the book and its creation (the event took place on Monday, 5th November, 2018 at 107 Charing Cross Road)/PHOTO CREDIT: Getty Images/Foyles

In any case; Matt Everitt is (rightly!) getting huge acclaim and love from those who have already got the book. Props to Tim Marrs’ trippy, vivacious and oft-sensational pen for bringing to life some of our best-loved artists with such fire and variegated seduction! The pairing is great and I wonder if the duo will work together. I am not sure what the next project would be but, as Matt Everitt was a member of the bands Menswear and The Montrose Avenue; maybe a semi-autobiographical tale/memoir about those 1990s heydays and the transition into music journalism? I am not sure but there will definitely be demand and appetite for another book. A reason why I am so involved with the book and love it is because of the angle it takes with these big names. I interview hundreds of upcoming artists each year and the main concentration is on whatever song/E.P./album they are promoting. I ask questions about their favourite albums/songs/artists and always feel like that is a minor part. P.R. companies and artists need their current release promoted and covered as thoroughly as a fat man being slathered in jam – get THAT image out of your head! –; it is all about that momentum and focusing on the here and now. So many sites are pressed for words and times so tend to repeat a press release and do a pithy interview. You get bigger magazines and papers like The Guardian, MOJO and newer publications like DORK and The Line of Best Fit doing some bigger pieces but they are few and far between.

 IN THIS PHOTO: IDLES/PHOTO CREDIT: Pooneh Ghana for DIY (Edition: August 2018)

I have drooled over brilliant bright and illustrative interviews with the likes of IDLES – I read a great one they gave for DIY – and you get these brilliant photos, wonderful questions and searing quotes. A lot of the focus is on the new and what is happening in their camp. I guess rising artists need to talk about what they are selling and where they are headed but so few interviews/interviewers pick under the skin and get inside the head, Michel Gondry-like, and uncover all the memories; interacting with one another in a nostalgia snow-globe. Matt Everitt has taken these artists – some newer ones like Florence Welch and icons like Sir Elton John – and has asked them to discuss those first-time memories. Where was your first gig? Which band did you go and see first? Can you recall the first record you bought?! There are all these pivotal moments uncovered and it allows one to see where the artist came from. I think it is crucial finding out where a musician is heading and what they are promoting now but I see few interviews that look back and get into the musical D.N.A. Consider these rising acts like IDLES and Nadine Shah; fascinating figures like St. Vincent and Jon Hopkins and, while we marvel at their current output; which artists inspired them and when did their musical ‘journey’ – I hate to use that word as it makes me want to barf blood but, hey… - begin and which was the record that came into their life first.

IN THIS IMAGE: The poster for the first ‘proper’ gig I attended (on 8th November, 2005, aged twenty-two)/IMAGE CREDIT: Rob Jones

I know my first gig was seeing The White Stripes at Alexander Palace in 2005 (rather late in life it was (as I am thirty-five now); they turned up late and I only got to see the support acts!); the first song I recall is Tears for Fears’ Everybody Rules the World (my first memory of life, in fact around about 1985!) and the first album I bought was Now That’s What I Call Music! 24 (I got it on double-cassette and it had bangers from k.d. lang, The Bluebells and Paul McCartney, among others!). I can remember getting my first vinyl and tape cassette; the first time I saw a music video (The Bangles’ Eternal Flame on VH1) and I think all of these memories are a part of who we are. Some might saw that sort of reminiscing is nostalgia and what is happening now is more important. I am not suggesting every music interview spends a lot of time asking questions about the first album a band bought or which artist was the first Let’s Eat Grandma saw live but it would be a benefit. I fear music is becoming disposable and we are only after that quick hit! We want everything in a couple of lines and do not linger long. They say the album as a format is dying but I would disagree. I think more and more people are falling for a complete work and we have not lost that ability to stand still and listen. Fewer of us might be picking up a magazine or paper and reading about a musician – compared to the 1990s, let’s say – but music journalism itself is as broad and varied as ever.

 IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (in a section where he was interviewing R.E.M.’s lead, Michael Stipe)/BOOK PUBLISHER: Laurence King Publishing

For us to be truly connected with an artist and to understand what makes them tick; I think discovering how they got into music and the moments that define them (explored) is a great thing! We gain an understanding of where their own music stems from and get to know more about the human. I try and pitch questions to new artists regarding the albums that inspire them and what sort of sounds they grew up around. I love great artists like Jack White, Joni Mitchell and De La Soul and know their work intimately. I can pour over interviews and, online and in print, you can get a sense of where they come from. Most of the interviews I find, however, still tend to lean too heavily on their newer work and do not always dip into the past. One cannot get a true understanding and estimate of a musician without discovering where the ‘egg’ came from (or should it be ‘chicken’?!). If we talk about the modern and now then it denies that revelation and true knowledge; we are limiting our minds and there is a whole world unexplored. Matt Everitt’s The First Time: Stories & Songs from Music Icons is a timely reminder that there are these stories to be told and memories to be evoked. I love Pete Townshend and The Who but I feel like I know their back catalogue very well. Where did The Who’s guitarist/songwriter start and which moments define who he is?!

Not only is it good to discover the early lives of the musical icons but the new breed have a lot to tell us. Every artist is inspired by others and we all have those first gig memories and the life-altering times that affect what we do now and the sort of music we gravitate towards. I hope, down the line, there is another volume in Everitt: in any case; he has given impetus to many and I can see eyes and mind opening, compelled by the depth and discoveries throughout the book. One big reason why I want to interview bigger artists is to discover the music that they are inspired by and how they started in the industry. Only when you learn all of that can you get a real insight and understanding into the music they (the artist in question) are putting out. How often do we see a titanic music figure interviewed without there being a new record out? Can’t we just sit Sir Paul McCartney or Patti Smith down and ask them about their ‘firsts’?! I would love to see/hear that and I feel artists always have to be on-point and brief – talk about what you are promoting and not too much else. I sense it when I am interviewing and feel I need to be in 2018 and not look too far back. Matt Everitt has interviewed everyone from Robert Plant and Paul Weller to Shirley Manson (Garbage) and I love discovering which gigs and records define these hugely important people.

  IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

I am not saying it is boring talking about their new work and what they think about Brexit and all of that but I love to look back; to get into the memory centre and see these vivid and past images flash through! One way for the new generation to get a better understanding of the artist they follow and the icons their parents grew up around is to see/hear these interviews where they talk about their paths into music and who inspired them. Finding out about the ‘muses’ behind the musicians is a great angle and something I’d like to see more in modern journalism. Some of the bigger, more popular sites do this but it does not happen as much as it should. Maybe this will change in years to come. I think my ‘first’ memories is a good way of defining and revealing my soul and reason for living music and, in turn, would be a great reason to ask the same from big artists. I hope I have done Matt Everitt’s The First Time: Stories & Songs from Music Icons justice – or have rambled for a while! –; but it is a gorgeous work that has taught me so much about artists I feel I know pretty well.

PHOTO CREDIT: @florenciaviadana/Unsplash

Not only have I been awakened to this new side of them but I look at the records they bought and the artists who influenced them and, as a result, have checked them out. You can get that sense of lineage and inspiration and, again, that makes me much more connected to the artist than ever. Perhaps my path to the BBC Radio 6 Music stable – either pumping out a daily dose of music news or keeping the coffee machine working and stocked! – is a long way away but I have changed my style and improved as a journalist because of the likes of Matt Everitt and how they approach subjects. Think about your ‘first times’ and those soul-awakening gigs and records. Music is not the only way to discover what makes an artist tick and, when many icons write in an oblique and distant way; interviews are the only way we can truly get into their souls, memories and minds. Reading about these musical colossuses and the charming memories that are dear to them is truly wonderful and incredibly revealing. Celebrities and musical figures have already given The First Time: Stories & Songs from Music Icons a hearty thumbs-up and I’d give it a classic Paul McCartney double-thumbs-up of approval! The here and now and current time is vital for all artists and they are keenest for people to discovery what they are putting into the world and where they are heading. If we take a moment and ask them to talk about where they came from and how music struck them in a very primal way; I feel we can learn things about the artist that…

  IN THIS IMAGE: An exert from Matt Everitt’s book, The First Time: Stories & Songs from Music Icons (depicting The Beach Boys’ mega-genius leader, Brian Wilson)/ILLUSTRATION CREDIT: Tim Marrs/BOOK PUBLISHER: Laurence King Publishing

WILL blow the mind.

INTERVIEW: Simon D James

INTERVIEW:

Simon D James

___________

I have been talking with Simon D James…

about his new single, My Everything, and what it is all about. He discusses what is coming up next and what sort of music he responds to; which three albums mean the most to him and what it was like recording at Leeds’ Greenmount Studios.

James recommends some rising artists to watch and tells me what his gig schedule is looking like; how he chills away from music and why he spent time in Mexico City selling coffee – the songwriter provides some useful advice for artists coming through.

__________

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

Hi, Sam. I’m good, thank you. Hiding out in Brighton from the cold; rehearsing for some upcoming gigs and focusing on promotion for the new single.

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

I’m a Brighton-based singer-songwriter who likes to spend time in studios turning Folk songs into Indie tunes.

My Everything is your new song. Is there a tale behind it?

When you get that feeling that you are repeating similar situations in your life because you didn't quite get the lesson the first time; like the universe is a maths teacher and asking you to take resists. That, coupled with realising that all I am is good enough…

Is it true you spent time in Mexico City selling coffee?! What was the reason behind that?

I had an aversion to the dampness of the UK in my twenties, so I tried many scams and angles to make money in clement environments. Selling Coffee in DF was not my most profitable venture, but I did love my time in that city and it is where My Everything was first written.

What was it like recording in Leeds’ Greenmount Studios. Was there a reason for choosing that location?

I’m lucky to have come from a very musical family. Greenmount was a connection from my uncle, who runs a theatre in Leeds. He had worked with Jamie and Lee before and managed to get me a day with them. As far as I'm concerned, it was love at first site with Jamie and Lee and I quickly went back and recorded a bunch more songs that we are releasing at the moment.

Might we see more material next year do you think?

During the summer, I released an E.P., Songs from a Dream Long Forgotten, and now we have the single, My Everything, out on 5th November. My Everything will be on a four-track E.P. that I hope to have released in January and, in Feb, I'm back at Greenmount to record more.

Was your early life filled with music? Which artists did you follow when growing up?

The first band that changed my life was Nirvana. I got into them at about thirteen; from there my musical tastes grew and encompasses almost every genre.

Do you already have plans for 2019?

Release and record music - and we are currently booking gigs and festivals for the summer.

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

My favourite moments in music are when I’m jamming with my friends; when everyone is rocking out. There is also something really special about being in a recording studio.

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

As a teenager, my friends and I would smoke pot and listen to Abbey Road on-repeat. The entire album sometimes comes on in my mind and I can hear all the arrangements from start to finish whilst I’m going about my day.

Tom Waits’ Swordfishtrombones takes me to Art College and most days at some point a track from Off the Wall comes on and I have a little moonwalk around the kitchen.

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

I guess I would most like to Radiohead - and I'm not fussy; I'm happy with most things.

What advice would you give to new artists coming through?

Persevere.

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

I have a show in London at the Underbelly on 7th November and check us out on social media to find out about all our other shows.

 IN THIS PHOTO: MY BABY

Are there any new artists you recommend we check out?

I’m listening to MY BABY and The Lemon Twigs on-repeat at the moment.

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

Not enough. Chill time is kind of the carrot on the end of the stick. What’s that saying...? ‘I'll rest when I'm dead’.

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

Michael Jackson – Get on the Floor

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