FEATURE: The July Playlist: Vol. 2: Oh My Gosh!

FEATURE:

 

The July Playlist

IN THIS PHOTO: Sampa the Great/PHOTO CREDIT: Getty Images 

Vol. 2: Oh My Gosh!

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THERE have been some pretty tasty releases…

 IN THIS PHOTO: Anna Meredith/PHOTO CREDIT: Kate Bones

this week and there are some really big names in the pack. Not only is there a hot new track from Sampa the Great but Beyoncé has released a new song (from The Lion King soundtrack) - and it sees her go in a slightly different direction. Not only that but BANKS and Anna Meredith have new tracks; so too do Villagers and Mystery Jets; throw in some gold from Gruff Rhys and The Murder Capital and it is a reliably eclectic and solid week! I love what is on offer and I suggest people dig deep into this week’s collection of tracks. It is another warm weekend so this is a perfection selection to take with you – or stay at home and enjoy at your leisure. With some true gems out this week, I guarantee there is something in this assortment that…

 IN THIS PHOTO: Gruff Rhys/PHOTO CREDIT: Tom Oxley/NME

YOU will love.  

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

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Sampa the Great – OMG

PHOTO CREDIT: Graham Tolbert & Crystal Quinn

Bon Iver – Faith

Mystery Jets – Hospital Radio

PHOTO CREDIT: Robyn Beck

Beyoncé – Spirit (From Disney’s The Lion King)

Villagers – Summer’s Song

BANKS – Contaminated

Anna Meredith – Paramour

Mark Ronson (ft. Camila Cabello) - Find U Again 

PHOTO CREDIT: Jake Haseldine

Marsicans - Little Things

Gruff Rhys – Pang!

Billie Eilish (with Justin Bieber) - bad guy

IN THIS PHOTO: Ed Sheeran

Ed Sheeran (ft. Eminem & 50 Cent) - Remember the Name

Sheryl Crow, Jason Isbell – Everything Is Broken

PHOTO CREDIT: Luke Hannaford

Oh Sees - Poisoned Stones

PHOTO CREDIT: Ben Gibson

Elton John – Never Too Late

Dizzy – Heavy

Emeli Sandé – Shine

EVE (ft. Konshens) - Reload

PHOTO CREDIT: Gavin Ovoca

The Murder Capital - Don't Cling To Life

Palace – Younger

Ina Wroldsen – Forgive or Forget

LeToya Luckett – Feeling

Sea Girls – Closer

Of Monsters and Men – Wild Roses 

Phora – On My Way

Matt Corby, Tash Sultana - Talk It Out

Will Joseph Cook - Hey Brother

CLEWS – Hollywood

Sofi Tukker – Swing

Phoebe Ryan – Build Me Up

AJ Mitchell – Move On

K.Flay – Good News

Gallant – Crimes

TRACK REVIEW: Beyoncé - Spirit (From Disney's The Lion King)

TRACK REVIEW:

 

Beyoncé

PHOTO CREDIT: Walt Disney 

Spirit (From Disney's The Lion King)

9.6/10

The track, Spirit (From Disney's The Lion King), is available via:

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

GENRES:

R&B/Gospel

ORIGIN:

U.S.A.

RELEASE DATE:

9th July, 2019

LABEL:

Walt Disney Records

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I do not get the chance to review Beyoncé…

often but, with a new track out, I could not pass on the opportunity! Beyoncé appears in the new version of The Lion King as Nala - Simba's childhood best friend – and the film has been gathering some positive reviews. I have not seen it myself but I have heard a lot of people rave about Beyoncé’s performance and, as she sings on the soundtrack, it provided me a chance to review her in a different light. Before coming to the song, Spirit, which was written by Ilya Salmanzadeh, Labrinth and Beyoncé, I will talk about Beyoncé and how she remains this musical role model; the different sides to her art and why I think a new, almost-Gospel direction would suit her; the trailblazing women this year and why a full return for Beyoncé is needed right now; artists appearing in films and how that will provide inspiration to people and the legacy Beyoncé has already created; a little on her future and where she might be headed over the next few months. Let’s get down to business because, with Beyoncé, there is a lot to unpack and investigate. There are these modern artists that are able to project a strong message and act as a role model to people out there. There are articles explaining why Beyoncé is a role model and, in this one from Her Campus, it is obvious Beyoncé is keen to support others:

“She supports other women.

After the infamous MTV Video Music Awards in 2009 when Kanye West interrupted Taylor Swift’s speech after she received the award for Best Video of the Year, Beyoncé called Taylor on stage to finish her speech and allowed her to have her moment.

She is unapologetically black.

“I like my baby hair, with baby hair and afros,” she sings in her song “Formation.” The music video for “Formation” features significant events for African Americans, such as the emancipation of enslaved people, Hurricane Katrina in New Orleans and the Black Lives Matter movement.

She promotes positive body image.

Beyoncé has always been proud of her curves , but in her music video “Pretty Hurts” she explores negative body image issues that girls and young women struggle with, such as eating disorders and addiction to plastic surgery. “Perfection is a disease of a nation,” she sings.

PHOTO CREDIT: Kevin Mazur/Getty Images 

She supports the LGBTQ community.

She supported the Supreme Court’s ruling for gay marriage by creating a remake of her 711 video, #LoveWins.

She has an amazing relationship with her daughter, Blue Ivy.

Her song “Blue” is dedicated to the love has she for Blue Ivy. Beyoncé’s Instagram is full of adorable videos and pictures of her and Blue.

She’s charitable.

Her organization, BeyGood, provides school supplies for underfunded schools an supports gender equality and environmental awareness”.

There has been some debate as to whether Beyoncé is a positive role model and whether she sets a good example – especially to young girls. The division has come when it comes to her music and money. Her songs, sure, have other writers on them and Beyoncé’s messages of empowerment have been highlighted when it comes to her own material and whether there is irony there. The fact that Beyoncé is wealthy has been highlighted – does this make her inaccessible and is she slightly submissive regarding her husband, Jay-Z? Some criticised her feminist stance after her 2016 album, Lemonade, came out and wondered whether it was all a bit of an act. She has had to face this sort of criticism a lot and it is perplexing. She does vocalise her love for her husband in her music and I think many expect her to be more independent and write the sort of material she was performing with Destiny’s Child back in the 1990s and early part of the last decade – the strong single woman who did not need anyone and could make her own way in life. I do think Beyoncé is a great role model, not just when it comes to feminism and body image but music as well. She is a strong lead for girls out there; someone who is an advocate for L.G.B.T.Q.I.A.+ rights; support black rights and really ensuring those who do not have a voice have one. Beyoncé will always face criticism and attacks but one cannot deny the fact she has inspired many and continues to do so.

 PHOTO CREDIT: Tyler Mitchell for Vogue

Her music, through the years, is especially powerful and influential. When she was performing with Destiny’s Child, we got these tracks of strength and independence and that inflamed and united women around the world. This strong and beautiful role model was definitely emerging and that continued as Beyoncé went solo. If a sense of subservience has been highlighted, that is because Beyoncé is a mother and wife; someone who has settled down but has definitely not betrayed her principles nor take any sh*t; she does not rely on Jay-Z or take her wealth for granted either. She has worked hard for what she has earned and cannot be accused or selling out or being a different person. It is the music that has thrilled and compelled the masses for decades. To me, it is the way Beyoncé changes and the fact her music is not rigid; someone who keeps moving forward and explores new territory. Her R&B smashes with Destiny’s Child were great but it is when Beyoncé struck out alone that her music broadened and she matched the fiery anthems with something more sensitive and pure. I do feel like Beyoncé, as she has matured, has not settled and slowed. That might be understandable as she is in her thirties but a lot of artists, when they have been in the industry for so long, tend to compromise or go in a whole other direction. With THE CARTERS (the moniker of her and Jay-Z), again, we got another direction and layer. Lemonade was a seismic album because of its political edges and powerful messages; the way she talked about infidelity and betrayal but also wore her heart on her sleeve. The role model Beyoncé was formed from this Destiny’s Child notion: the young black woman who was still making it but showing that she was a future star. A lot of the division regarding Beyoncé as a genuine role model has shaped up as her solo career has progressed. I think her music has grown a lot and she is much more interesting and layered than she was back in the beginning.

Take what she is doing now and the fact that, once more, she cannot be predicted and labelled. Spirit is less an aggressive statement and anthem but, instead, it has more heart and passion to it. There are Gospel touches but it retains a bit of R&B. It is an interesting song and, whilst it forms part of a soundtrack, it does make me wonder whether Beyoncé’s next phase of music will see her tackle Gospel or do something different. She is someone who never stops and is always exploring new realms. Any artist out there who feels you need to be pretty static and commercial with your work in order to succeed should look at Beyoncé and what she is doing. I know she has a lot of writers and producers who help craft her tracks but one has to consider the fact that, at the centre and calling the shots is Beyoncé. She is not an artist, like we see so often, who is a cog in the machine and just blindly follows what is put before her. Instead, we have a genuine and tireless role model who campaigns outside of her music and, when it comes to her art, there is nobody like her! I have talked about evolution and how Beyoncé moves into new areas and, to me, that is the secret to her success – or one of them at the very least. If she continued to make Destiny’s Child-like music after she left the group (or they disbanded), then that would grow tired and it would not reflect her life and how she has changed as a woman. Those who wanted Beyoncé to keep writing about being independent, shrugging off cheats and lying men and rallying the troops need to remember that she has a family and is not going to be writing about that still – even though it is important and she is still a spokesperson for strong and sassy women around the globe. I do think that Beyoncé is an icon and has the promise to be a legend; someone that is spoken about for decades to come.

One only needs to recall her performance from Coachella back in 2018 – I shall actually nod to that a bit later – to see why one cannot dismiss her. I will chat about Gospel first and the fact that there are touches of that on Spirit. Tomorrow, I am investigating Aretha Franklin as an icon; someone who has changed music and was vitally important. In terms of inspirations, one can tell Franklin means a lot to Beyoncé. I am not saying Franklin inspired Beyoncé’s latest track but I wonder whether we will see Beyoncé become a bit more Aretha Franklin on her next album. I think Beyoncé is at a stage right now where she is content with her family and life but sees so much divisionism and struggle around her. I know she is stable and comfortable regarding finance and her lot but that does not mean she turns a blind eye to those around her.

From the poorer black communities to the L.G.B.T.Q.I.A.+ community being marginalised and alienated, Beyoncé wants to raise awareness and lend her support. In terms of music, she has always been this inspiration (I think) and her words cannot help but resonate. I do feel like, when we see another Beyoncé album, it will have Gospel and Soul flavours. This is not to say this will be a new, permanent direction for her but it all comes back to evolution and the fact Beyoncé is not one to be pigeon-holed. Her music is always fresh and unpredictable so I am excited to see where she goes next. Spirit is a fantastic track that works in the context of The Lion King but also stands alone. I do hope we get another album from her very soon because, since 2016, there has definitely been a gap. Beyoncé has been busy but there will be many who wonder where her music will go next and what we might get. I do think politics and the state of the world right now will be on her mind. She will not want to ignore that and, rather than attack it with both barrels, she might go in a more soulful direction.

In any case, I do think that we need someone like Beyoncé in music. This year has been defined by strong and talented women and, from Lizzo (who reminds me a lot of Beyoncé) to Sharon Van Etten and Little Simz, there is so much to get excited about right now. I cannot say for certain how many female artists now take a lead from Beyoncé but one cannot deny her influence and how performers like Lizzo and Janelle Monáe do take the lead from Beyoncé to an extent. I mentioned her performance at Coachella last year and, to me, that set was one of the most powerful I have seen in many years. It is, perhaps, one of the best we have seen in a generation and make sure you get the album. It was Beyoncé running through a selection of her hits and showing why she is one of the most captivating artists in the world. The reviews for the performance and the live album that followed (earlier this year) speak for themselves. This is how Pitchfork judged the HOMECOMING album:

“The album sounds communal, like a revival meeting in a small, sweaty tent that leaves you lifted and fortified. It’s as much about Beyoncé as it is about the people who made her and the people who sustain her. As I was listening, my upstairs neighbors, two young black women, were also listening at full volume. My friend in Miami was texting me hot takes, while my sister, who’d attended the show on the second weekend, was tweeting about how much the white people in the audience seemed to just not get it. Every Beyoncé event is a gospel you want to tell somebody about, but this one doubles down on this feeling of communion. She’s singing songs you already know, and connecting them to other songs you remember, too. She’s drawing on her past, looking back, but also looking squarely back at us.

Black women and rock’n’roll pioneers like Memphis Minnie, Sister Rosetta Tharpe, and Etta James, and contemporary queens of rhythmic music like Janet Jackson and Missy Elliott have not received sufficient credit for their innovations. Beyoncé, famously, was the first black woman headliner of the nearly 20-year-old festival. In a space where she was not obviously welcome, she made an enduring impression. A home. Then she made it about something other than herself. She brought an entire lineage into the room”.

Beyoncé is still in her thirties so it is slightly scary imagining how far she can go and what more she can achieve. Her legacy already is clear, both as a role model and an artist. She is one of modern music’s true stars and, years from now, a legion of new artists will pick up her words and music and take them to heart. Not only is Beyoncé inspiration to women and girls around the world but she is someone who compels everyone; an artist who is fascinating to watch and is a very strong and undeniable role model. One can debate the merits of Beyoncé and whether she is as honest and genuine as her music suggests but, to me, one needs to stop assuming and judging. It is a bit maddening seeing these articles that question Beyoncé’s integrity and whether she is a good role model for girls out there. Anyway, I shall put that to bed for a minute. Now that Beyoncé has appeared in The Lion King, I do think other artists will follow her. There is nothing new about musicians getting into film and, as Lady Gaga recently proved in A Star Is Born, one cannot assume artists are not strong actors – she proved people wrong and delivered a knockout performance. In Beyoncé’s case, I actually feel she has a long acting career ahead. I think she has appeared in bits and pieces here and there but one thinks of Beyoncé and wonders why she has not done more film and T.V.

 PHOTO CREDIT: Tyler Mitchell for Vogue

I think she is a naturally talented actor and could inhabit so many personas. Beyoncé is a strong artist and businesswoman; she has her own brands and is a very busy person. I think she is inspiring people in different areas and different ways but, when it comes to an area relatively unexplored, I do think film and T.V. is somewhere she could clean up. Whether it is producing documentaries about black lives or strong women or appearing in front of the camera in a gritty drama or a comedy, I think Beyoncé could be a real success. Look at her acting credits and you can see most of her work has been in music videos. Look at artists like Lady Gaga and Eminem (in 8 Mile) who won plaudits for their honest portrayals and I do think Beyoncé could follow them. Maybe that is something she has planned but I can imagine her easily stepping into film and T.V. and succeeding. Not that Beyoncé has anything to prove but lending her voice to stunning dramas and putting something inspiring on the screen could see her reach and touch new lives; conquer new areas and cement her reputation as an icon.

I think her performance in The Lion King is great and it will have provided pleasure and wonder to many children. I like the fact she did it and, whether it was to please her own children or something she really wanted to do, other artists will see what she has done and go into film. I keep coming back to the idea of Beyoncé as an icon and how many areas she has conquered. We can leave aside the ethical debates and whether she is the real deal because, to me, there are few that have such passion for change and equality. I think Beyoncé could bring this to the screen away from music. We live through a time when the L.G.B.T.Q.I.A.+ community are not as respected as they should be and there is needless poverty and division. Beyoncé alone cannot cure these problems but I do think she has a chance to bring her talents to the screen. I could imagine her fronting a powerful drama where she is a mother in a tough neighbourhood and has to face prejudice. Maybe a film where she is an aspiring politician but is put down and overlooked could make for a compelling piece. I am spit-balling here but one could easily picture these possibilities.

 IMAGE CREDIT: Walt Disney

There are African vocals that lead in Spirit and give it a very evocative and stirring start. One would expect it in terms of The Lion King and the context but, as a standalone song, it adopts this new meaning and nuance. One can check out the song here and see the credits regarding background vocals but, when Beyoncé comes to the microphone, her voice is settled yet hugely arresting. She talks about the wind talking for the very first time. After that potent and rousing beginning, one sees the song develop and takes the word ‘spirit’ to mean a number of different things. To me, one can apply it to The Lion King and a sense of pride and fortitude but, in a larger sense, there is this nature of freedom and growth. I pictured scenes of a figure growing and battling the elements; letting their spirit roar and not being tied down. Beyoncé’s voice is graceful and soulful throughout and she delivers these powerful messages with composure. The messages in the song are strong and moving without descending into cliché and the obvious. Many artists would approach a song like Spirit and make it too saccharine and formulaic. Instead, one gets a real sense of personal meaning in the song. Beyoncé definitely pours her heart out and her always-stunning voice bring the words to life. In the chorus, she talks about this spirit and the heavens opening (and whether we can hear it calling). Again, one might frame the song in terms of The Lion King and her character’s arc but, to me, I was intrigued by wider implications and possibilities. There is a defiance and power that extends beyond film and actually can be applied to so many situations. One can extrapolate guidance and fortitude from a song that asks (us) to keep heads above the waves and fight the water; to see the stars gathering by your side and know that there is a sense of hope out there.

 PHOTO CREDIT: Shutterstock

Many songs, as I say have and could have descended into treacle and not resonated but Spirit captivates because of Beyoncé’s voice and the fact that the track has so much depth. The earlier vocal introduction gets the listener engaged but there are tribal beats and the chorus is typically defiant and affecting. Beyoncé’s voice has grown and strengthened through the years and I think it holds more weight and depth than it did on her earliest solo albums. Beyoncé talks about the light shining and having your heart lifted; your destiny coming close and, against the struggle, standing tall and proud. If the song were too Lion King-centric regarding its lyrics and sound then I would probably not have reviewed it but, as I keep explaining, Spirit is a song that can be taken away from the soundtrack and interpreted in so many ways. That sense of defiance and keeping strong cannot help but register and stir the blood. I have listened to Spirit and a few times and am always moved by its power and meaning. I do not think Beyoncé has sounded as engrossed in a song for so long and, whilst that might sound a little dismissive, I mean this track really means something to her. I have talked about the modern world and how Beyoncé acts a role model to various communities; those who struggle and have to fight for their rights. Spirit is a call to those who are feeling the pain and are alone to see that there is a hope in front of them and a path that leads to better things. Many talk about Beyoncé in terms of her moves and anthems but, in pure vocal terms, I do not think her voice gets as much credit as it should. It would be premature of me to rank her alongside the great Soul singers like Aretha Franklin but that sheer power that comes from Beyoncé cannot be ignored; the way she can convey a range of emotions and put her everything into every song. It is emotional hearing a voice so strong break through and get into the heart. I shall leave things there because I think people need to check out Spirit and let it do its work. It is an amazing song and one that, I hope, leads to some more Beyoncé material soon enough.

 PHOTO CREDIT: Tyler Mitchell for Vogue

I shall wrap things up in a bit because I know we are all busy! I have covered a number of different subjects when it comes to Beyoncé and, if you want to experience more, keep your eyes open. It has been three years since her last solo album and, even though she released EVERYTHING IS LOVE with The Carters last year, there are going to be people out there hankering for more Beyoncé material. As a live performer, she is always in demand and I do feel like there is something imminent. Beyoncé is a mother and wife but, living in modern America, I do think she will have a lot of fuel for a new record. One cannot help but notice how President Trump has affected the U.S. and what he is doing. He is one of the most maligned leaders of the U.S. ever and I do think artists like Beyoncé will want to express that. There are no album announcements or plans in the fire right now but keep your eyes peeled and watch her social media feeds for more details. Spirit is a great song and one that, as I said, stands alone and does not need to be reviewed in the context of The Lion King. I am intrigued by the sound of the song and the fact that she can conquer and succeed in genres like Soul and Gospel.

PHOTO CREDIT: Robyn Beck

Beyoncé has blossomed as an artist since the 1990s and she has plenty more years left. I am excited to see where Beyoncé goes next and what her future holds. I shall bring things to a close now but, when it came to this Saturday’s review, I could not pass up the chance to assess Beyoncé’s latest track. It is a stunning thing and very different to what she has done in the past. It projects powerful messages and it is a song that stands up to repeated assaults. I really love it and can imagine Beyoncé keeping that type of sound close to her chest on a future album. It goes to show that, when it comes to predicting Beyoncé, few can keep up and define her. She is, despite what some people say, a genuine role model and guide for so many out there and, with so much trouble in the world now, there are few artists who can make as big an impact…

AS the amazing Beyoncé.

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Follow Beyoncé

Official:

https://www.beyonce.com/

Facebook:

https://www.facebook.com/beyonce/

Twitter:

https://twitter.com/Beyonce

Instagram:

https://www.instagram.com/beyonce/

YouTube:

https://www.youtube.com/user/beyonce/videos?app=desktop

Spotify:

https://open.spotify.com/artist/6vWDO969PvNqNYHIOW5v0m

ALL UNCREDITED PHOTOS:

Getty Images/Beyoncé

FEATURE: No Prizes for Guessing! Which Albums Will Make the Mercury Prize Shortlist?

FEATURE:

 

No Prizes for Guessing!

IN THIS IMAGE: The cover for IDLES’ 2018 album, Joy as an Act of Resistance (surely a shoe-in for the Mercury Prize shortlist?!)/IMAGE CREDIT: IDLES

Which Albums Will Make the Mercury Prize Shortlist?

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WE are almost at the point…

IN THIS PHOTO: Nadine Shah (who many thought would win the 2018 Mercury Prize for Holiday Destination (released in 2017)/PHOTO CREDIT: Getty Images

when the best British and Irish albums from the past year are revealed. I am referring to the Mercury Prize shortlist announcement and, on 25th July, we will know which albums have made the cut. There is always debate and consternation when the shortlist is announced because, invariably, you cannot include all the best albums from 2018/2019 – there will be some that miss out and are overlooked! Last year’s shortlist was impressive and, whilst I expected Nadine Shah’s Holiday Destination to walk away with the award (she did too!), it actually went to Wolf Alice and Visions of a Life. How does an album/artist make the grade when it comes to Mercury Prize eligibility? The official website gives the guidelines:

“1.3 The album must have a digital release date between Saturday 21 July 2018 and Friday 19 July 2019 inclusive (although entries must be received by 15 May 2019). Entries received after 15 May 2019 will not be considered for the 2019 Mercury Prize.

1.4 The album must, as a minimum, be available to buy from at least two selected major UK digital retailers and/or to stream from at least two selected streaming services (please see cl. 5 of the full Terms & Conditions for the list of selected digital retailers and streaming services). The album may also be available to buy in other formats”.

That seems pretty set in stone and clear but there is one part of the rules that can confuse early betters and those making predictions: the fact that an album nomination has to have been received by 15th May. One recent album of the year contender, Thom Yorke’s ANIMA, has just been released and, whilst it is a digital album that sneaks under the wire, I do wonder whether anyone at the record company nominated the album ahead of time – will ANIMA be considered I wonder? Because of that, I am discounting Yorke’s latest record because I do feel like it is a bit too new to make the shortlist. Everyone will have their own views of the albums that will make the shortlist and I have divided my predictions into two categories: those outsiders that might be in with a shout and the more solid group that are likely to be included. It might sound odd I am starting with Fontaines D.C. and Dogrel as an outside bet but, in the past, not that many Irish acts have won the award – nor Welsh, for that matter. The Mercury goes to English acts more often than not but the only reason I am putting Fontaines D.C. on the longlist is because there are two albums, which I will get to, that are going to be odds-on to win this year. Dogrel is a remarkable album and it is one of the very best of 2019. I do think this year’s winner is going to be an album/artist that conveys a sense of anger and need for unification.

On 19th September at the Eventim Apollo, we will decide which album has won this year’s Mercury. I do think there are some albums that are in with a shot of nomination. Nina Nesbitt’s The Sun Will Come up, the Seasons Will Change received some great reviews and, whilst it has not garnered as much attention as some albums this year, it is a fantastic record that deserves to be in the mix. The same can be said of The Cinematic Orchestra and their album, To Believe. Released back in March, it is one of those albums that can be considered an outsider – as it is not as mainstream/commercial as other albums that will be on the shortlist. It is a remarkable record and this is how CLASH reviewed To Believe:

“In the now crowded field of acts combining neo-classical jazz with electronic sensibilities, genre progenitors The Cinematic Orchestra remain a band apart.

There’s an elegance to their music that marks them out, a gracefulness that has grown in their 11-year absence.

Where previous albums soared high, ‘To Believe’ glides low. Jason Swinscoe and co. revel in restraint, eschewing big statements in favour of weaving intricate patterns.

A core message for hope in a fragile world (delivered via singers like Moses Sumney and Tawiah) completes this delicate musical tapestry perfectly, resulting in a quietly triumphant comeback from the British masters”.

I do think Grime and Hip-Hop will be, like last year, very much in the running but, when it comes to Skepta and Ignorance Is Bliss.  His album did get some good reviews but some felt there were half-measures and it was not as engrossing as some of his earliest work. There are some tremendous tracks on the album but I do feel that Ignorance Is Bliss, if it is on the shortlist, is unlikely to be among the favourites. I will mention a couple more albums that are underground delights and two you can add now are Musica Alla Puttanesca by Madonnatron and Queen Zee by Queen Zee. I am a big fan of Madonnatron and they are gathering pace right now; getting their music played on some big radio stations and turning heads as they go. I do think it is a long-short Madonnatron will be shortlisted but you never know! A band who are producing something wonderful and weird are Liverpool’s Queen Zee. Their eponymous album has been going down a storm. Here is how The Line of Best Fit judged Queen Zee:

“This record marks the first, bold step towards carving their legacy – even if that means breaking a guitar and a few bones on the way. With an orb of garish proto-punk firmly grasped in one hand and a sceptre of solidarity and bravery in the other, this is the coronation of a band who have waded through gender dysphoria and homophobia, only to emerge the other side as icons for the ideology they represent.

Queen Zee are here to put on a show that incites a mushroom cloud of anarchy, frazzling your brains with a shock of colour in a genre defined by mawkish men in black. This debut album proves that even in the studio, Queen Zee know how to put on a show. The album opens with a two—second hesitance, and that is all the mercy you’re afforded – from that point on, you are plunged at a neck-breaking speed into anarchic world. You won’t have the chance to gasp for air again”.

I am a huge fan of Billie Marten and her music and, whilst I feel Feeding Seahorses by Hand warrants a Mercury nod, it might be a bit of a stretch. That is a shame because Marten’s writing is incredibly mature and developed (she is still a teenager) and her voice is exquisite. Her 2016 debut, Writing of Blues and Yellows, was a revelation and was a very personal record: her 2019 follow-up is more varied in terms of themes and covers politics, self-doubt and the experience of the city. I do think her album merits recognition but I feel Lucy Rose and No Words Left is a safer contender. Released through Communion Records back in March, I love what Lucy Rose is doing and think she is worth a bet. Not many albums in the Folk genre have won the Mercury lately and, as more Hip-Hop and Rap steps into the spotlight, I do not think 2019 is a year where we will see things change in that respect – not that this is a bad thing, as such.

IN THIS PHOTO: Lucy Rose/PHOTO CREDIT: Harry Wade

I feel Sleaford Mods’ Eton Alive is an album that is worth a bet, too. It might not be in the top-ten but I think the Mercury Prize offers surprises every year so you cannot discount Sleaford Mods. The latest record from Nottingham’s Jason Williamson and Andrew Fearn is business-as-usual: political statements, great jokes and some cutting jibes. This is NME’s assessment of Eton Alive:

“So there are no great state of the nation addresses here, but there are good stand-up routines about running scams in manual jobs (‘Discourse’), ingratiating yourself with someone else’s family (‘Subtraction’) and having one more bin than the Council has allocated (‘Policy Cream’). For the most part, ‘Eton Alive’ sounds politicised only because we’re now so unaccustomed to hearing people from council estates make popular music that isn’t aspirational. There’s a reason the video for ‘Kebab Spider’ depicts uncouth blokes chanting.

Fearn’s arrangements are more sophisticated than ever before, the bassy groove of ‘Big Burt’ (“Shelling out 1500 pound to see an ‘asbeen who can’t even do three gigs in one go – what’s that?) sounding like an actual song. And ‘Top It Up’, with an ominous synth line, veers into art-pop territory. This indicates the polish that success has afforded Sleaford Mods (on ‘OBCT’ Williamson admits he lives “in a house three times the size of my old one” and drives past “Oliver Bonas in the Chelsea tractor”). But they’ve not changed. They’re still taking the piss.

Sometimes a joke starts wearing thin, but goes on so long that it comes back around. And ‘Eton Alive’ is a pretty great punchline. Not everything has to be escapist or explicitly political – sometimes you just want to hear people make gags about a world that you recognise. It’s cathartic, it’s entertaining. It says: you exist. ‘Eton Alive’ makes Sleaford Mods funny again”.

The last few names I am nominating display a breadth of textures and genres but, again, maybe 2019 will not be their year. Ezra Collective are rising and popular at the moment and, on You Can’t Steal My Joy, they are producing music that is essential, original and striking. This is The Guardian’s review of their latest record:

“While this generic meandering might seem jarring, Ezra Collective make it part of their ethos – a patchwork celebration of jazz’s enduring diversity. The collective’s strengths come in its longstanding telepathic musicianship with highlights on jazz-leaning instrumentals such as King of the Jungle and Shakara, featuring Kokoroko. The record is a joyous listen, which will only be enhanced on their forthcoming tour, and a confident assertion of Ezra Collective breaking out of the once-restrictive jazz enclave”.

Although Loyle Carner was nominated for the Mercury in 2017 for his debut, Yesterday’s Gone (2017), I do not think his follow-up, Not Waving, but Drowning, will be in the pack. It is an accomplished album but not quite as heady, revelatory and acclaimed as his debut. The reviews have been largely positive but I do think judges will be looking elsewhere when it comes to the shortlist this year – which is a shame because I feel like Yesterday’s Gone deserved the Mercury in 2017 (Sampa’s Process won that year). The final name I will put in the ‘outsiders’ list is The Chemical Brothers. One might feel any album from them should be taken seriously and, whilst No Geography is one of 2019’s very best, I do wonder whether it will make the selected shortlist of twelve. Like Folk, Electronica has not scooped a Mercury Prize for some time and I think something Post-Punk/Hip-Hop-scented will win this year. In any case, No Geography has been collecting rave reviews. Here is Pitchfork’s viewpoint:

“Still, despite featuring some of the strongest and most straightforward singles of their surprisingly successful last decade, No Geography is best consumed as a front-to-back experience. Most of its 10 songs flow into each other as separate suites, the opening trio forming a perpetual build not unlike Boredoms’ Vision Creation Newsun before blasting off with the splashy drums and Drive-redolent synths of the title track. The centerpiece and closer—respectively, the lovely yawns of “Gravity Drops” and the squiggly comedown “Catch Me I’m Falling”—exist as breathers amid No Geography’s perpetual exhilaration”.

Which twelve albums will be in the shortlist for this year’s Mercury’s Prize?! I will include thirteen names – because I am annoying that way – but these are the albums that are more likely to be nominated. First up is The Comet Is Coming and Trust in the Lifeforce of the Deep Mystery. I think every year we get one Jazz record and something more out-there. The Mercury Prize has been accused of tokenism and ignoring certain genres but I do feel like The Comet Is Coming will be included. AllMusic were impressed by Trust in the Lifeforce of the Deep Mystery:

“Blood of the Past" is darker, tenser, and freer, given added dimension via the apocalyptic poetry of guest Kate Tempest. An airy intro gives way to skittering, urgent, dubby electro funk in "Super Zodiac." "Timewave Zero" enters from the margins in a soundscape at once cinematic and intimate before articulating a fusion of spiritual jazz-funk, dancehall rhythms, and punky grime. "The Universe Wakes Up" closes the set and atmospherically evokes the spirits of the Coltranes as CIC attempt to reach beyond the heavens. Hutchings' circular breathing underscores the aggressive pulse of the rhythm section. Trust in the Lifeforce of the Deep Mystery is urgent, sophisticated, and humorous. It actually delivers the music of tomorrow via the traditions of past and present; it's a convulsive exercise in the articulation of inner and outer space”.

IN THIS PHOTO: Lewis Capaldi/PHOTO CREDIT: Getty Images

If Jazz offerings from the past have not walked away with the Mercury, the same cannot be said of Pop. One name that is on the tongues of many is Lewis Capaldi. The Scottish artist is definitely capturing hearts and, off the back of a successful set at Glastonbury this year, would one bet again Divinely Uninspired to a Hellish Extent being named as a contender?! It is his debut album – the Mercury judges love a good debut! – and Capaldi has definitely been exposed nicely and is pretty much everywhere you look! Some balked when Ed Sheeran was nominated in 2017 for % but I think Capaldi is in with a shot. Again, it is unlikely to be the winner. Look at the last few years and we have seen other genres dominate. I think it will take years for this to change and, as we have award ceremonies like the BRITs celebrating Pop, the Mercury Prize is unlikely to be too commercial when it comes to its winners. I would desperately love Neneh Cherry (I know she is Swedish but I believe she holds a British passport, making her eligible) to be in the top-five names for this year’s Mercury because Broken Politics (released last October), her fifth solo album, is a belter. Laura Snapes’ review for The Guardian shows why Broken Politics is an album one cannot ignore:

“Poignancy has accumulated at 54 – an age her voice carries beautifully. “Don’t live for nostalgia, but the impact of everything resonates,” she sings on Synchonised Devotion. Cherry still has “an allergy to my realness, like my own self-worth”, she sings on Natural Skin Deep – a simmering, almost angry outlier – but refuses to give into it: “Don’t have anywhere to go / Nowhere to hide / All of me is now.” Cherry’s sage perspective weaves through these tender, bristling tracks, and elevates Broken Politics from being simply a beautiful record to a revelatory one. “Just because I’m down, don’t step all over me,” she warns on Fallen Leaves, and promises to remain open to risk and common sense: an admirably holistic approach to a shattered world”.

I do think albums that reflect the modern world and dig deeper than you average Pop fare will resonate with the Mercury judges. For that reason, I think The 1975 are definite favourites with their critically-lauded album, A Brief Inquiry into Online Relationships. Released back in November, it is a truly stunning album that drew comparisons to Radiohead’s OK Computer. I think The 1975 are releasing another album soon but I would be surprised if A Brief Inquiry into Online Relationships failed to make the shortlist for this year’s Mercury Prize – considering it was voted one of the best albums from last year and got five-star reviews from so many sources. This year has been incredibly strong in terms of female artists. I think this dominance will continue and, when we consider the Mercury shortlist possibilities, artists like Self Esteem need to be on the mind. The moniker of Rebecca Lucy Taylor, her Compliments Please album is a stunning work that proves Taylor is one of this country’s best songwriters. Drowned in Sound had this to say when reviewing Compliments Please back in March:

“We haven’t even touched on the total command that Taylor has over those big diva moments in the album; or the perfect lacy cherry icing that the violins add; or the incredibly balanced pace between slow-burning ballads and Beyoncé-worthy bangers; or just the salacious rhythm on tunes like ‘Rollout’ or ‘Wrestling’. Granted, Taylor knows that she’s a white chick borrowing tricks from folks of colour, and she doesn’t shirk from that; the skits in between feature the monologues of black men and women, which in turn reflect back to Taylor’s own narrative of seeking and carving out independence. Is that equalising two struggles that may not necessarily be equal? Or are these skits free-standing parts to a well-intentioned, all-inclusive tribute? I’d like to give it to the latter.

At any rate, I digress. The point I want to hammer in is that Compliments Please delights me more and more with each spin - in part because the tunes are solid, but also because the heart and the intentions underneath are solid, too. Pop artists don’t have to stick to the same ol’ lovesick schmooze to land a hit, damn it. If we can rewire girls’ heads to value independence and their own ambition with a flourish of sassy strings, then I say let’s hijack the radio and get this party started.

Before coming to the five names that I think will definitely be shortlisted and among the bookies’ favourites, I want to bring in a few more albums that are worth investigation and consideration. Foals’ Everything Not Saved Will Be Lost – Part 1 has not scored massive reviews across the board but I do think the band is on a roll right now and, after a Glastonbury set that inflamed and delighted, I think they will be on the minds of Mercury judges. I am in two minds as to whether AJ Tracey will be in the elite group of nominees. On the one hand, he has produced a sensational eponymous album and he is a hot talent. Singles Psych Out and Ladbroke Grove are two of the strongest from this year and, alongside Dave and slowthai, AJ Tracey is one of Britain’s finest Hip-Hop artists.

IN THIS PHOTO: AJ Tracey/PHOTO CREDIT: Mike Prior

I know his debut has been getting a lot of buzz and AJ Tracey will be a future headliner, for sure. Maybe it is a bit early in his career to get a Mercury nod but, as we know, debuts are always considered and one cannot rule out AJ Tracey.  The other artist who I think will be nominated but not necessarily but mixing it with the top names is James Blake. He has been Mercury-nominated before - in 2011 for his eponymous debut – so who is to say Assume Form will miss out? I actually think Blake’s fourth album is his most complete and memorable so, for that reason, I do hope to see it among the nominated dozen. I do think that, as I keep saying, certain genres will be favoured and the judges are going to go for albums that are less personal and more political, perhaps. Maybe that will not come to pass but this year is a divided and stressful one so I feel the panel will look for an album that reflects the divisions and tries to make sense of everything. Of course, there are always albums you forget or do not expect to get shortlisted that make the cut – I am sure there are a few that I will be kicking myself about! In terms of those frontrunners, again, I might need to put a star by two albums which, whilst released recently, maybe the label did not submit them to the Mercury judges/panel in time. I also forgot to mention Kate Tempest’s recent album, The Book of Traps and Lessons. It was released a few weeks ago so, whilst it definitely should be among the shortlisted, has it arrived too late?! Tempest, again, has been nominated so few would be surprised if it were to happen this year – and it would be richly deserved for what is a stark, gorgeous and highly-praised album.

This brings me to the albums/artists, I feel, cannot help escape the attention of the judges. I should probably start with those two albums I mentioned which might have missed the cut-off but one suspects will be shoe-ins for shortlisting: slowthai’s Nothing Great About Britain and Cate Le Bon’s Reward. The former was released on 17th May through Method so one feels that, by sneaking in perilously close to the submission date, it has to be in the mix and will be one of the shortlisted twelve! Cate Le Bon’s new album was released on 24th May so one feels that it will also get through and the label (Mexican Summer) have submitted it. Both albums have gained massive reviews and are very different works. Le Bon’s Reward is a deeper, more nuanced work whereas I think slowthai has released a more immediate album. I do think both will be among the favourites and, in a strong field, either album could win the prize. Make sure you check out both albums but, when considering slowthai’s Nothing Great About Britain, CLASH had the following to say:

“slowthai’s particular brand of rap is uncompromising and cutting. His bars are infused with punk pastiche and poetry, possessing an underlying and ever-present charm. As he dances between exasperated, affecting and vulnerable lyrics, a certain degree of innocence and hope emerges from the rubble of angst that surrounds the Midlands MC. There is a certain therapeutic temperament to this record, both vital and resplendent in nature, transcending most ideals and beliefs and resonating with most of us mere mortals.

This compelling and provocative record is a haunting echo of a seemingly hopeless vignette of Britain today, where slowthai offers the slightest glimmer of optimism for a potentially brighter future. slowthai is the unexpected hero for the people we didn’t know we needed, but so many, justly deserve”.

The Line of Best Fit, when they were reviewing Reward, highlighted Le Bon’s unique textures and edge:

“Tracks like the ultramodern “Mother’s Mother’s Magazines” swaggers with billowy sax bursts while “Here It Comes Again” is an ode to Nico if there ever was. But while Le Bon brought in a number of other collaborators such as Kurt Vile, H. Hawkline, and Warpaint’s Stella Mozgawa, Reward stands as a labyrinth into Le Bon’s stately and riveting mind. “You Don’t Love Me”’s minimalist output serves as an avant-garde trip – exotic at times, with horns, and woodblock knocks.

Nevertheless, to be welcomed into Le Bon’s world serves as quite the ride and right now, no one’s producing what she’s creating”.

As mentioned, there will be albums I have overlooked and I know, when it comes to Jazz, Electronic and Pop artists, there are bound to be a few artists that will surprise you – will the fresh-out-of-the-oven album from Hot Chip (A Bath Full of Ecstasy) have been considered or have they released a pearl a bit too late for inclusion?! Everyone will have their own views but, to me, there are three albums that are the ones to beat.

I will wait until the end to reveal the album I think will win this year’s Mercury but there are two artists who have released glorious albums in 2019 that warrant a fair shot. Dave’s PSYCHODRAMA is among the best albums of this year and I am a particularly big fan of his. He is able to articulate the realities of modern Britain and its problems; the experiences of the black population in this country but he also gets personal and provides some hugely emotional moments. You’d have to go out of your way to find a reviewer who has not given PSYCHODRAMA a hearty thumbs-up and hugely positive review. It is one of the most daring and crucial albums we have seen in a very long time and, if it did win the Mercury Prize, it would be a popular choice…and it would be an important moment at a time when black artists are still being overlooked. The Guardian, in their review of PSYCHODRAMA, highlighted the contrasts and twists that makes the album so spectacular and fresh:

“Despite the presence of hit-making producer Fraser T Smith – who progressed from knocking together the pop-rap singles that brought Tinchy Stryder success a decade ago to helming Stormzy’s Gang Signs & Prayer – the album’s sound is spare and sullen, its beats lightly decorated with moody piano figures and ghostly snatches of warped vocals, its tone unsparingly downbeat and sombre. Even the most pop-facing track, the ostensibly romantic Voices, comes replete with intimations of paranoia and mental illness. There are chinks of light about the music on Purple Heart, or the Drake-esque Location, but you’d never describe them as party-starting bangers.

Moreover, those tracks serve largely as a brief moment of respite between plunges into bleak, street-level reportage. Streatham casts an unsentimental eye over the rapper’s youth; Screwface Capital starts out swaggering about success and sexual prowess, but becomes increasingly dark and despairing, unable to shake off the ghosts of the past, before the lyrics crash to a halt. The last minute and a half is entirely instrumental, given over to a haunting, jazzy keyboard solo, as if the rapper can’t face talking any more.

On the face of it, Psychodrama seems a strange way to go about achieving the latter: unvarnished and emotionally raw, it frequently makes for tough listening. Equally, as a showcase for Dave’s talents, it unquestionably works. His lyrics are smart, thoughtful, unflinching and self-aware. In a world where artists seem terrified of their audience hitting the fast-forward button, of skipping to the next song on the streaming service playlist, it’s a big ask to confront listeners with an 11-minute rap track, especially when the subject matter is as unremittingly grim as that of Lesley, but it’s genuinely gripping. Indeed, it says something about how incisive Dave is as a writer that the album lasts for the best part of an hour, and not a minute of its running time seems wasted or padded out. The end result is certainly the boldest album to emerge from UK hip-hop’s renaissance. It may also be the best. However big its ambitions, Dave has the talent to fulfil them”.

IN THIS PHOTO: Little Simz/PHOTO CREDIT: Jack Bridgland

Dave is a definite favourite in my view but he faces stiff competition from the wonderful Little Simz. Like PSYCHODRAMA, GREY Area has been greeted with explosive reviews and passion from all corners. Little Simz is one of these artists I can see headlining major festivals because she has that gravitas and incredible talent that is hard to deny. The past few years have seen a fair few London rappers/Hip-Hop artists get shortlisted – including Skepta, Loyle Carner and Kate Tempest – and this year will be no different. The judges would be foolish to overlook these bold and truthful records at a time when music is providing greater popularity, trust and faith than our politicians. Critics were, as mentioned, blown away by GREY Area. Here is NME’s review:

“The record swells with pride, and Simbi’s celebration of her sense of worth is catching. See opening track, ‘Offence’, where she reminds us that she’s back again and has to pick up where she left off before (“I said it with my chest / I don’t care who I offend – uh huh!”). Her unapologetic words, coupled with that vicious beat, make you feel unbreakable, and set the tone for the journey you’re about to embark on.

On ‘Flowers’, the final track, Simz wonders if the ambition she has for herself – wanting to be legendary and iconic – comes with darkness. Here, she reflects on her idols, such as Amy Winehouse and Jimi Hendrix, and ruminates on their dizzying highs, but tragic endings. It’s a indication of the mindset she was in while writing ‘Grey Area’; the north London powerhouse was going through a dark time, which became pivotal in her creative process. You can hear this free-flowing energy – up and down– that runs through the album.

Across these 10 tracks, Simz utilises her most valuable commodity: honesty. Having stripped away the narrative cloak that shrouded the highlights of ‘Stillness In Wonderland’, she’s crafted a knockout record – and finally come true on her early promise. This is the best rap record of the year so far”.

There was a lot of confusion last year when the shortlisted Mercury albums were announced. Many felt IDLES’ Brutalism was overlooked and should have been included. That album was released on 10th March, 2017 so should have been one of the shortlisted albums for 2017’s ceremony - but that was not to be. As Joy as an Act of Resistance was released on 31st August, 2018, there is nothing to stop the album getting the nod this year! I think it would be the biggest error and oversight if Joy as an Act of Resistance was omitted so, to me, it seems like a guarantee. Not only do I think shortlisted but it will win the Mercury. IDLES are on fire right now and are getting fiercer and stronger by the moment. Whilst many would argue they do not need the prize money given – many favour smaller artists winning so they can use the money to fund recording – and are not short of adulation, the Mercury Prize needs to reflect quality in addition to giving a nod to a new artist who would otherwise have been missed by award ceremonies. Wolf Alice won last year and, whereas the judges might go in a different sonic direction this year, I feel Joy as an Act of Resistance is the most deserving of the Mercury. Is it my favourite album from 2018 and I know IDLES have a wonderful, long future ahead of them.

I will end my section about IDLES with a couple of review snippets but, in terms of what they are saying in interviews, we should all be listening. Led by the inspirational Joe Talbot, here is a band that are saying something real and genuinely want to see a change in the world. As this article from last year explores, the band are bringing people together and helping those vulnerable; those who might feel they do not have a voice and are not listened to:

“‘Joy As An Act Of Resistance’ is a record that champions vulnerability, openness and community, and these threads also sit at the heart of the show. Joe dedicates ‘Danny Nedelko’ to the immigrants that make this country a better place, with the titular man in question bursting out on stage at its finale, while ‘Divide & Conquer’ is introduced as an ode to the NHS.

In speaking to the band’s most devoted fans - a clan growing at great pace with each passing day - it’s clear that in laying their deepest fears and vulnerabilities on the line in songs, IDLES are one of the country’s most potent voices, forging the kind of connection only achieved once in a generation. AF Gang member Helen Reade can attest to this more than most.

“What they’re saying is what we really need to hear right now,” she explains before the show. “My partner passed away of cancer at quite a young age, and we have two children. When I first heard ‘Brutalism’, and heard that visceral grief, and that absolute internal rage that I couldn’t articulate - because I had to look after two kids - it just connected, and it became a daily routine. ‘I can get through my day, and I can cope with everything, if I listen to this album, because this person, whoever he is, understands where I’m coming from.’

IN THIS PHOTO: IDLES/PHOTO CREDIT: Jenn Five/NME

Alongside Little Simz, Dave and slowthai, IDLES have released the most important album of the past couple of years – that’s what I think anyway. Apart from a few less-than-empathic reviews for Joy as an Act of Resistance (Pitchfork, I’m looking at you!), there has been so much love out there for the Bristol boys. When The Quietus reviewed IDLES’ sophomore album, they were full of praise:

“Bolstered by a rout of incendiary drives from bassist Adam Devonshire, guitarists Mark Bowen and Lee Kiernan, and drummer Joe Beavis, the overarching missive here is to brace grief, connect, push forward and, above all else, learn to love oneself. And yet, it’s in those bursts, when Talbot picks apart the cul-de-sac cunts whose idea of self-actualization means owning a 50” TV, that often lands the biggest punch.

Striving to see the good in things when one-time reference points to surety and stability are taken away takes not just a considerable amount of mettle: it demands an immense faith in one’s fellow world citizen, whether they reside next door, down the road or beyond Blighty’s beloved seashore. Guided by his friends and fellow punk conquistadors in Idles, as a lyricist, Talbot has just elevated himself to the ranks of craftsman by ensuring that the sheer currency of vulnerability, and the unkillable spirit of community, is threaded throughout JAAAOR. With it, as distilled via his closing call to sense on the album’s closing peak ‘Rottweiler’, Idles take their rightful place as not Britain’s, nor Europe’s, but the world’s most vital band”.

DIY were similarity stunned by IDLES’ remarkable album:

“When your world falls apart, you find new ways to make sense of what remains, and ‘Joy As An Act of Resistance’ does that through warmth and humour, openness and honesty. Across its 12 tracks, it runs the full gamut of emotions. ‘Never Fight A Man With A Perm’ is hilarious and sarcastic, perfectly encapsulating the small-town macho types running on too much booze and testosterone (“Me oh me oh my, Roy / You look like a walking thyroid”). ‘I’m Scum’ up-ends the insults thrown at liberal lefties in righteous fashion, culminating in the snarled crescendo of “this snowflake’s an avalanche”. On the cathartic purge of album closer ‘Rottweiler’, meanwhile, the band whip up a tornado of joyous noise as Joe yells the album to a close: “Keep fucking going! Smash it! Destroy the world! Burn your house down!”

Across its 40-odd minutes, ‘Joy As An Act of Resistance’ makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this. No hyperbole needed; IDLES are the most important band we have right now”.

I do feel like IDLES deserve the Mercury because Joy as an Act of Resistance is the strongest album from the past year and they are definitely humble – the album would not be taken lightly and I know the prize money would be used for good.

On 25th July, this year’s shortlisted albums will be announced and, true to form, people will have their opinions and grumbles. There are only a dozen albums allowed on the list so one cannot please everyone! I have chosen the outside albums that are in with a chance and another group that, I feel, are a more sure bet. I know I have missed some obvious albums (I will kick myself when I realise) and there are those underground albums that get the nod – the ones you might not even know about. There is always debate and criticism that comes down to whether new/underground artists get enough exposure; whether the winning artists deserve the award and money and whether there is enough range regarding genres – not a lot of Metal and Folk making the shortlist. I have argued for a broader shortlist in future years (maybe fifteen names) but I still think you run up against issues whatever you do. Maybe my predictions or off and maybe we will see a whole host of other artists shortlisted but I am pretty confident; I definitely think this is IDLES’ year and, if they are not even shortlisted, I might need to hold an enquiry and see what is going on at Mercury Prize H.Q.! I feel like the Mercury Prize is a great event and it (winning the award) is a big thing for an artist; that recognition and sense of elevation. Before we hear the winner announced on 19th September.

Every year’s Mercury shortlist/award-winner provokes questions and, writing in reaction to last year’s Wolf Alice win, The Guardian’s Alexis Petridis explained the problem: 

“This year’s offered not even a vague pretence of covering a wide range of music: its two jazz entries aside, it was a narrow sampling of albums from the mainstream or, at best, a couple of inches to the left of it. The chairman of the judges, Radio 2 and BBC 6Music controller Jeff Smith, found himself presiding over a list substantially less eclectic than the output of either of his stations: no folk music, nothing avant garde, nothing from the spectrum of hard rock, no modern classical, not even any dance music. The quality of the shortlisted entries ranged from overhyped to pretty good to unequivocally excellent, but there were no curveballs, nothing to frighten the horses, nothing you wouldn’t already know about if you had been keeping abreast of a broadsheet newspaper’s music pages

The problem with a limited shortlist is that it can reflect back on the eventual winner: there’s more value in being first out of a wildly varied and intriguing selection of albums than there is in being first out of a limited and predictable list”.

I do think this year’s shortlist will be broader and reflect a wider spectrum but, when it comes to selecting the best of British, let’s hope common sense prevails. That might be a subjective statement but, regarding the albums that deserve the Mercury Prize the most, I have…

IN THIS PHOTO: Self Esteem (Rebecca Lucy Taylor)/PHOTO CREDIT: Mathew Parri Thomas

MY own predictions.

FEATURE: The Light of the Dawn Chorus: The Wonder and Golden Voice of Thom Yorke

FEATURE:

 

The Light of the Dawn Chorus

PHOTO CREDIT: Alex Lake 

The Wonder and Golden Voice of Thom Yorke

_________

THERE is so much to cover when we talk of Thom Yorke…

 PHOTO CREDIT: Alex Lake

but, rather than give you his entire career laid out – I will end with an ultimate Thom Yorke playlist, mind –, I wanted to highlight this incredible artist who is still turning heads. I will come to his Radiohead output and underline how it has changed my life but, just now, Yorke is promoting his album, ANIMA. He billed it as a Dystopian work but, actually, there is ample beauty and reward. It is not as dark as one might imagine and, instead, it is deep and full of nuance. You get hit by songs when you first hear them but something in your mind alerts you to a scent that you missed; compelled to return, you dive back in for another swim! The reviews for ANIMA have been largely positive. In fact, looking close, the reviews have been dazzling! The Telegraph, in their review, had this to say:

“All that and you can dance to it. Opening song Traffic is a squidgy tour-de-force that layers Yorke’s "we’re all doomed" yelp over a rush of gothic grooves that will sweep you away even as it makes you feel very bothered about climate change. He’s in full prog mode, meanwhile, on Twist, seven minutes of processed despondency that builds into a swell of spiritual torment. That may sound like a slog – but Yorke’s melodic instincts glimmer through, even as the claustrophobia rises.

He bungs in the album’s wispiest, most optimistic tune, Dawn Chorus – the one with which Anderson closes the video – halfway through, as if to make it explicit the respite will be only temporary. There aren’t many surprises, it’s true. And those tempted to write Thom Yorke off as pop’s misery-guts-in-chief will find plenty of ammunition. The closest to a curve ball is right at the end on Runwayaway, as Yorke is shoved aside by a tumult of blues guitars.

“This is when you know,” he chants ,“who you your real friends are.” It’s bleakness on a stick. But Anima is also a dystopian rhapsody that will stay with you long after the moment and rates as one of the purest expressions yet of Yorke’s devastated world view”.

In this review from The Independent, they highlight the promotional techniques used prior to ANIMA’s release and how, on his solo outings, Yorke favours various shades of grey and black – with some light and optimism in the mix:

“Commuters on the Tube in London were recently confronted by advertisements for ANIMA Technologies, a company claiming to have built a “Dream Camera“ that could capture the world of the unconscious. “Just call or text the number and we’ll get your dreams back,” it said. Callers were met by a rambling message about cease and desist orders, and an admission of “serious and flagrant unlawful activities”.

It was, perhaps, the most “Thom Yorke” way of promoting an album. On ANIMA, the Radiohead frontman's third solo record, he drifts like a spectre through a labyrinth, exploring his favourite themes of sleep, reality and the subconscious.

The tones here are stark and bleak, compared to the claustrophobia of 2014’s Tomorrow’s Modern Boxes. You can hear his paranoia in the stuttering techno opener “Traffic”, which channels the heady grooves and pulses of electronic artist Floating Points (who, with his neuroscience background, seems like an entirely fitting reference point)”.

I have been a fan of Thom Yorke’s since the earliest days of Radiohead and, decades after those early cuts, Yorke’s brilliance has not waned. He is able to tap into the vein of modern life and articulate a common feeling.

He can do that and not shy away from being explicit and honest but, tucked in every song is immense beauty and grace. I adore his music but, as a general guide and role model, Yorke is always relevant and brilliant. He recently unveiled all the demos and tracks from the OK Computer sessions after Radiohead were held to ransom by hackers. Yorke was not going to play ball and, rather than pay to have that music back, he just put it out into the world. Not only that but he asked people to buy the work and gave all proceeds to Extinction Rebellion – helping to fight climate change. Thom Yorke has been talking about his new album and why, in these tough times, discussing anxiety is a good thing:

“The Radiohead frontman spoke with The Sunday Times in an interview about his new solo album, ANIMA, where he also spoke about his band, thoughts on current music, and ongoing social and political issues.

“It’s good that depression and anxiety are being talked about more,” he said. “But they’re also on the rise… [there’s] much less security about what may happen in the near future. Much less trust of institutions there to protect them, as well as wider issues like climate change. This all makes people anxious, and it’s crazy that people don’t just acknowledge that.”

“Am I such a sad f****** human being that I pour my dirt out like that? Maybe others do, I don’t. My lyrics are spasmodic, and I wish I could do storytelling, but I don’t know how. So I resort to what I do know, which is more about images, imagery, visuals”.

Not only is Yorke eye-opening when discussing anxiety, the modern world and climate change but he has a nifty and charming sense of humour – and, as this interview shows, he has his finger on the modern pulse:

“…My favourite Radiohead gig was when they headlined Reading Festival in 2009. “When we came on with Creep?” Yorke asks, laughing loudly about the hit they came to hate. Creep, though, segued into the space jazz of The National Anthem, from Kid A, and the crowd still sang along. The whole show felt like a victory lap for making millions from exploring ever more outré sounds.

“This will mess them up!” He smiles at the humour in the jarring of styles. But he is proud. “There’s never been a conscious decision to be like that. It’s just informed by everyone in Radiohead listening to different music, and I never understood why that’s a problem.”

Billie Eilish. “That was a fine moment,” he says, shaking his head. “We sat down and what’s-his-name — the guy who did the Bond film we didn’t do?” That would be Sam Smith, who sang the theme for Spectre when a Radiohead song was rejected. “That’s it. He stands behind us, and I’m sitting with my daughter, her friends and my girlfriend, when suddenly everyone goes, ‘Saaam!’” Yorke squeals his name. “I’m, like, ‘Aaaargh!’” Still, he liked the gig? “Yes. I like Billie Eilish. She’s doing her own thing. Nobody’s telling her what to do.”

I suggest you investigate ANIMA and listen to all Thom Yorke’s solo work. To me, though, his magic comes from the voice; the instrument that has scored some of the most memorable tracks of the past twenty-five-plus years. I discovered Radiohead when Pablo Honey arrived in 1993 and, whilst there were few songs that truly struck my imagination, I was captivated by Yorke’s voice. In 1993, I was listening to Nirvana and bands like that and I was not really used to a group whose lead had this combination of intensity and sublime beauty. Creep is a song that divides fans (and the band) but one could not help, when they first heard it, be bowled over and taken aback by this unique voice. The Bends (1995) and OK Computer (1997) is when I really got into the band and bonded with Thom Yorke. The Bends is one of my favourite albums ever and I just adore the songs. Every track has its own personality and, whilst the band are supreme throughout, it is the dexterity and power of Yorke’s voice that makes it. Consider the range he displays on The Bends or the exquisite sadness of Fake Plastic Trees; the electricity of Just and the haunting refrains of Street Spirit (Fade Out). Maybe, back in 1995, there were few singers showing sensitivity and emotions in quite the same way – Jeff Buckley released Grace in 1994 but there were not many like him around -; so it was no surprise that Radiohead resonated.

 IN THIS PHOTO: Radiohead in 1995/PHOTO CREDIT: Jeoffrey Johnson

OK Computer followed and, in some ways, Yorke’s voice incorporated more shades, sides and suggestions. Paranoid Android is him sweeping between operatic, angered and soft whereas Exit Music (For a Film) is, I think, one of Radiohead’s most affecting songs. When we consider the greatest singers ever, Thom Yorke does not feature as high up lists as he should. In 2010, Rolling Stone declared Yorke the sixty-sixth best singer ever. This is what they had to say:

“By the turn of the century, the broad, emotive sweep of Thom Yorke's voice had made him one of the most influential singers of his generation. His high, keening sound, often trembling on the edge of falsetto, was turning up on records by Coldplay, Travis, Muse, Elbow and numerous others. "I tried to sing like Thom Yorke," Coldplay's Chris Martin told Rolling Stone. "The Radiohead influence on us was plain to see." But Yorke himself "couldn't stand the sound of me anymore" — and went on to reinvent his voice beginning with 2000's Kid A. Using electronic trickery and exploiting what he called "the tension between what's human and what's coming from the machines," he changed his voice into a disembodied instrument; songs like "Everything in Its Right Place" sound like fragmented transmissions from some distant galaxy”.

Not only has Yorke inspired artists such as Coldplay and Matt Bellamy (Muse) but he ensured Radiohead’s songs reached as wide an audience as possible. In lesser hands, the band might not have translated and resonated as they did but, with a voice that cover so many different emotions and conveys so much, Yorke has managed to inspire and seduce the masses.

It is amazing hearing Yorke’s voice now (he is fifty) and realising it is as pure and stunning as it was back in the 1990s. By the time Kid A rolled around in 2000, Yorke was putting his voice into the machine more and that still remains the case to an extent. Albums such as Hail to the Thief (2003) and In Rainbows (2007) saw Yorke put his voice into the fore but, on solo albums such as The Eraser (2006), there is that combination of pure vocals and technology-fed voices, if you see what I mean. Whether Yorke’s voice is machine-processed or standing on its own, it is always exquisite and full of meaning. I do not think there are many singers alive today that can say so much with their voice. Radiohead are still going – let’s hope there is a new album soon… – but their latest album, 2016’s A Moon Shaped Pool, is, yet again, Yorke bringing something new from his voice. The mark of a great singer is someone who can shine in any genre and cover every theme. From the simpler Rock of early Radiohead to the jitter and electronic tones of A Moon Shaped Pool, Yorke is effortless and seamless; his voice always striking and evocative. A lot of fans prefer Radiohead’s OK Computer/Kid A period as the peak but, to me, one cannot easily define the band because every album they release is brilliant. I love Hail to the Thief and I think that it is much underrated; I also love Amnesiac (2001) and feel like it does not get the credit it deserves.

Thom Yorke’s voice is this constant strike shaft of light that fills the imagination and senses and makes the music – whether Radiohead’s or his own – so spellbinding. Yorke has also performed as part of the band, Atoms for Peace (alongside Red Hot Chili Peppers bassist Flea, longtime Radiohead producer Nigel Godrich (keyboards, synthesisers, guitars); drummer Joey Waronker of Beck and R.E.M. and percussionist Mauro Refosco of Forro in the Dark), and has duetted with PJ Harvey (on This Mess We’re In on PJ Harvey’s album, Stories from the City, Stories from the Sea in 2000) and Björk (on I've Seen It All for the Dancer in the Dark soundtrack of 2000). Every version and iteration of Thom Yorke is fantastic and, with a new solo album out, he is still blowing minds – the reviews for ANIMA are among the most positive and universally-adoring of his career. I love, as I said earlier, the fact that Yorke is quite cheeky and has this common touch. As you can see from this Stereogum article, he has a near-close encounter with Sam Smith – an artist who, I imagine, is not one of his favourites!

“Yorke recently went to a gig by the pop star of the hour, Billie Eilish. “That was a fine moment,” he says, shaking his head. “We sat down and what’s-his-name — the guy who did the Bond film we didn’t do?” That would be Sam Smith, who sang the theme for Spectre when a Radiohead song was rejected. “That’s it. He stands behind us, and I’m sitting with my daughter, her friends and my girlfriend, when suddenly everyone goes, ‘Saaam!’” Yorke squeals his name. “I’m, like, ‘Aaaargh!’” Still, he liked the gig?”

Anyone who is new to Thom Yorke, I would suggest you start at the beginning with Radiohead’s debut (Pablo Honey) and work your way forward. There are some who prefer the band and have not discovered Yorke’s solo cannon and, in that case, check out his albums because they are terrific. I have mentioned his voice and the sort of power it holds but there is much more to Yorke than the voice alone: a truly influential and inspiring artist at a time when we need direction and stability. Whether it is ANIMA’s boldness and stark beauty or the fact Yorke is a hugely likeable, intelligent and, as we can see, funny guy (he has thrown a bit of light shade the way of Muse but I kind of get the impression that is inevitable – Muse are heavily influenced by Radiohead so it is natural streaming logarithms would guide Yorke the way of Muse). Yorke and his bandmates thwarted hackers and have raised money to battle climate change; Yorke is always busy and you never quite know what he is going to do next. He composed the music for the Suspiria soundtrack last year and demonstrated a natural aptitude for film score/soundtrack – highlighting what I said about his adaptability and chameleon-like talent! I think Thom Yorke is one of the finest voices who has ever lived and it does not seem to be getting any dimmer with age – not that Yorke is that old! As the man throws some cheek the way of Sam Smith and Muse; with ANIMA in the world and claiming big reviews; with his voice, in music and in public, moving and compelling at every term, we are so lucky having an artist like Thom Yorke…

 PHOTO CREDIT: Getty Images

IN the world.

FEATURE: Small Steps and Big Conversations: Closing the Gender Pay Gap in Music

FEATURE:

 

Small Steps and Big Conversations

PHOTO CREDIT: @lordmaui/Unsplash 

Closing the Gender Pay Gap in Music

_________

I was going to do a more general piece regarding…

gender inequality and, to be fair, it is on my mind today! I saw a tweet yesterday posted that reacted to a tweet from BBC Radio 6 Music and Sharon Van Etten’s performance at Glastonbury. Someone commented that, given BBC Radio 6 Music has spent a lot of time covering Glastonbury and has highlighted some great female artists, that it is gender-biased and sexist. It was only the one comment on this occasion but I have seen so many other people bemoan the coverage of female performers at Glastonbury; others that feel the festival does not need to be fifty-fifty in terms of gender because music should be a meritocracy and we need to book artists based on talent – and letting more women through would spoil that, in their mind. Coming back to the BBC Radio 6 Music tweet and one can hardly accuse the station – or any other – of skewing towards women and being biased. Most stations play more male artists; they have more male presenters and Glastonbury – like most festivals, too – has more male performers. I am not sure what that tweet riled me but it has got me thinking about equality again and how this year has been defined by women. I have argued this before so, apologies, I am covering some well-trodden soil! Every year, the BBC announces its highest-paid talent and who makes the cut.

 IN THIS PHOTO: Vanessa Feltz/PHOTO CREDIT: Getty Images

I have never understood why this is done but I guess the BBC wants to be transparent. This year’s list is out and it is the first time in a long time where women have been featured in the top-ten. 

“New Radio 2 Breakfast Show host, Zoe Ball, makes her debut on the list, paid £370,000 – £374,999, while Vanessa Feltz’s salary has increased from £330,000-£339,999 to £355,000-£359,999, and Claudia Winkleman remains one of the BBC’s highest paid women at £370,000-£374,999 – a similar figure to last year.

Jo Whiley’s pay has also increased by about 100k since last year, in light of her new solo evening show on Radio 2, while Fiona Bruce and Emily Maitlis mark new jobs on Newsnight and Question Time with big increases. The Today programme has also narrowed the pay discrepancies in its presenting line-up.

Political Editor Laura Kuenssberg’s salary has for the first time overtaken that of North America Editor Jon Sopel – both received increases but Kuenssberg’s was larger, putting her on £250,000-£254,999. Her Brexitcast co-star Katya Adler also got a pay bump, going from £170,000-£179,999 to £205,000-£209,999.

The list of the BBC’s top-paid stars skewed 66:34 in favour of men last year, but the 2018/2019 gender balance sits at an improved ratio of 55:45. The format of the report has also changed, with pay brackets now at £5,000 increments, compared with £10,000 in last year’s version.

It is positive seeing more women ibncvluded in the list and, at the very least, the gap is closing. In terms of radio, there are a lot of women ijn the top twenty/twenty-five but, when youi look at the top-ten earners, there is still a discrepancy:

Chris Evans – £1,250,000-£1,254,999

Steve Wright – £465,000-£469,999

Zoe Ball – £370,000-£374,999

Vanessa Feltz – £355,000-£359,999

IN THIS PHOTO: Lauren Laverne/PHOTO CREDIT: Boden Diaries 

Nicky Campbell – £340,000-£345,999

Stephen Nolan – £325,000-£329,999

Nick Grimshaw – £310,000-£314,999

Lauren Laverne – £305,000-£309,999

Jeremy Vine – £290,000-£294,999

Scott Mills – £285,000-£289,999”.

BBC Radio 2 stars Zoe Ball and Vanessa Feltz are near the top but I do feel like great women like Annie Mac and Mary Anne Hobbs should be higher up – earning more for the work they do. Consider Lauren Laverne and the fact her breakfast show has record listener figures; she is also helming Desert Island Discs and, in terms of work-rate, there are few who can match her. I appreciate pay is based on popularity and experience but I feel a presenter like Laverne is a lot more valuable than Nick Grimshaw; there are other women lower down the earnings list that, I feel, warrant greater earnings. The fact that a few prominent female broadcasters are appearing near the top of the BBC’s pay list is impressive and shows there is change coming but I do feel like there is a way to go.

 PHOTO CREDIT: @divandor/Unsplash

I do feel like the best radio at the moment is being made by women and, because of that, I wonder whether the BBC has taken that into consideration – are the likes of Lauren Laverne and Zoe Ball being paid what they deserve!? Record companies are more open when it comes to gender and pay and, since 2017, we have seen more figures come out. This article shows that there is still a way to go regarding closing the pay gap:

“The three major labels, using figures from April 2017, showed 33.8% pay gap.

Warner was the worst offender with a 49% gap, Universal with 29.8%, and Sony at 22.7%.

Live Nation’s UK operation reported a 46% gender pay gap, alongside an incredible 88% difference in bonuses between male and female employees.

Since then, many sectors of the music industry have worked hard to address the problem, caused largely by the fact that only 31% of leadership positions at majors were filled by women.

Morna Cook MBE, senior director of HR, Universal Music UK told Music Business Worldwide, “At Universal Music, diversity and inclusion isn’t driven by compliance or obligation.

“Success in our fast-evolving industry depends on us attracting people from all kinds of backgrounds, and having a team that truly reflects and supports the incredible diversity of our artist roster and society.”

Universal has been working on its paid interns program, more mentoring of its female executives, and working at a 50:50 split in its A&R teams.

Sony implemented “inclusive environment” learning programmes and better support for working parents.

Warner, which in 2017 had 41% of females in its workforce but only 16% in leadership roles, has taken a look at its staffers through a diversity and inclusion perspective, and put more women in frontline roles”.

 PHOTO CREDIT: @helloquence/Unsplash

Music Business Worldwide break down the statistics ion more detail:

“In the top-earning quartile of Universal Music UK’s business, 73% of employees are male and 27% are female.

The average hourly rate of pay across the whole business is 29.1% lower for females vs. males.

(Taken as a median %, this figure falls to 20.9%.)

When it comes to bonuses, female executives are paid 24.4% less on average than their male counterparts.

Bonus pay is given to 81% of males and 80% of females.

In the ‘upper middle quartile’ of Universal Music UK (ie. the second tier of executive pay), 59% of employees are male and 41% are female.

In the top-earning quartile of Sony Music UK’s business, 60.2% of employees are male and 39.8% are female.

The average hourly rate of pay across the whole business is 20.9% lower for females vs. males.

(Taken as a median %, this figure falls to 1.3%.)

When it comes to bonuses, female executives are paid 50.1% less on average than their male counterparts.

Bonus pay is given to 76.3% of males and 71.5% of females.

In the ‘upper middle quartile’ of Sony Music UK (ie. the second tier of executive pay), 50% of employees are male and 50% are female.

On April 1 Spotify revealed its figures for the first time after its UK workforce crossed 250 employees 2018 .

As at April 5 2018, Spotify’s UK mean gender pay gap was 11.6% and median gender pay gap was 16.8%.

Average bonuses for women at Spotify were 19.7% lower than men and 10.3% lower at the median.

On this date, 42% of Spotify’s UK workforce were women and 58% were men”.

 PHOTO CREDIT: @stereophototyp/Unsplash

I am not saying that very radio station and record label insists all men and women are paid exactly the same because, when it comes to earnings, the issue is more complicated than that. I do think questions need to be asked in both areas. I realise radio earnings are linked to listener figures but I do think, in general, not enough women are being put in popular slots and being recruited to big stations. Look at all the major stations in the U.K. and there is still a big imbalance and that does not look like it will be redressed anytime soon – even though BBC Radio 2 overhauled this year and has three women (Zoe Ball, Sara Cox and Jo Whiley) leading big shows. I think radio bosses do need to work to redress gender imbalance and, when it comes to record labels, why is there still a gap?! Maybe things will improve in a few years but a lot of the biggest labels out there are still paying men more than women. A lot of the problems relating to pay gaps relates to recruitment and retaining women in various sectors of the music industry. Before I sort of conclude and look ahead I want to bring in an article that was written by the UK Music’s Head of Diversity, Felicity Oliver:

“This month was the deadline for companies with 250 or more employees to report their gender pay gaps. This is the second year that organisations have been required to publicly disclose these statistics after the Government made it compulsory in 2018.

Shining a light across industries has given us an insightful, if unsurprising, snapshot on the state-of-play for women. Last year it was revealed for the first time that the country’s biggest organisations paid men 78 per cent more than they paid women.

PHOTO CREDIT: @kmuza/Unsplash 

This year’s statistics go to show that change won’t happen quickly as a BBC analysis of this year’s figures found that across 45 per cent of firms the discrepancy in pay actually increased in favour of men.

Although reporting is in its early stages, and this year’s results do not indicate a huge change from last year in relation to the music industry, progress has been made on an individual level. Many firms have introduced workplace schemes that should bring about improvements. This is something that UK Music will continue to monitor and develop.

UK Music’s 2018 Diversity Survey results which measured gender and ethnicity across the music industry workforce, found there was an encouraging 6.3 percentage point increase among female workers aged 35 to 44 and a welcome 6 percentage point increase in females aged 45 to 64.

However, there remained fewer women overall in these age groups, highlighting an issue with the retention of females aged 35 and over. The lower number of females than males in senior posts is a key factor to consider when reflecting on the gender pay gap reporting.

I’m confident that the gender pay gap reporting will not only tackle disparities in pay but also help to elevate more women into senior leadership positions across the industry. Change is starting to take place already. It has opened up difficult conversations in the workplace for the first time and is going some way to create a more inclusive industry.

Flexible working and parental leave packages must reflect the needs of society while companies must take responsibility of their recruitment processes. UK Music has supported Labour MP Tracy Brabin’s ‘selfie leave’ campaign along with MPG Executive Board member Olga FitzRoy from the MPG. It’s also great to see mentoring schemes being established within industry to create an inclusive network of support.

Our report showed an encouraging increase in younger females entering the industry with a 10.7 percentage point increase. However, we must do all we can to ensure these women are equipped to rise up the career ladder to the very top.

Only when we have tackled the gender pay gap head on can we achieve genuine gender parity in our industry”.

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

There is a long way to go but I think, from radio stations and labels through to every other corner of music, there needs to be a review regarding pay and promoting more women into senior positions; retaining more women and creating greater visibility. There are so many great female broadcasters, producers; label employees and journalists that are not getting the same opportunities as men and, when they are in the same job, they are getting paid less. It takes me back to my early point about this year’s music and how 2019 has been defined by great women and the wonderful material they have put out this year. I wonder whether the women who appeared at Glastonbury and made it so wonderful were paid the same wage as the male performers. The BBC’s publication of earnings showed movement and improvement but it also highlighted that, certainly in radio, some incredible popular women are not, I think, being paid what they deserve and there is still an imbalance regarding the number of women on stations compared to men. That gender imbalance extends across music and, as this article outlines, there is still a divide when it comes to producers and songwriters:    

“But the disparity between representation on the stage and behind the scenes is stark, to say the least. Only four out of 871 producers were women of color. Out of 400 songs and 871 producers, only 2 percent were female. “The gender ratio of male producers to female music producers is 47 to 1,” the report said.

When it comes to songwriters, 57 percent of the songs studied did not credit a woman. Meanwhile, only three tracks (counting as less than 1 percent) did not credit a male songwriter. Among female songwriters, 43.3 percent are women of color.

PHOTO CREDIT: @diskander/Unsplash 

Men outdid women when it came to songwriting credits on the Hot 100 over the past seven years. Max Martin had the most credits at 39, while Nicki Minaj topped the list of female songwriters with 18 credits. A quarter of the songs were written by the top 10 male songwriters”.

2019 has been an improvement on 2018 regarding steps forward but I do wonder whether a big enough leap is being made. Considering a lot of the labels and businesses are being run by men, is progress slow because they are not the ones affected? This feature from last year confronted the pay gap at festivals and how change is being predicted. I am pleased there is motivation for change but, as we think about closing the pay gap and promoting more women into management positions, I also think we need to start at grassroots level regarding recruitment. In studios, radio stations and at festivals, women are still in a minority and I do not think this reflects the talent and quality out there. Festivals are working to close the pay gap but, as 2019 has been such a strong year for women, I feel constructive and progressive conversation needs to happen quicker. I do think attracting more women into live music and behind the scenes roles is crucial.

 PHOTO CREDIT: @diskander/Unsplash

This IQ article from earlier in the year shows some big music organisations are working hard but many say the same thing: more can be done and we cannot be complacent. I look out and am seeing improvements but I think, if we want to bring more women into music, then we need to tackle the pay gap. Many women will look at the figures and, whilst they will note the evolution from last year, the fact there is disparity still might make them feel like they will be underpaid compared with their male colleagues. I keep saying how 2019 is being defined by terrific women and this extends beyond the stages and feeds into studios, labels and beyond. I do believe the gender pay gap will close completely at labels, radio stations and festivals very soon because I think the industry is so much richer when we encourage more women to shine and inspire. I shall end things here but, in concluding, the fact discussions are happening and articles are being published gives me hope things will keep heading in the right direction. Businesses are fighting for change and acknowledge things do need to change regarding recruiting more women and promoting them to senior positions. From the fabulous stars of BBC radio to festival standouts; the industrious female producers and the brilliant label bosses and P.R. representatives that are pushing music to new levels, we owe the fantastic women in music…

 PHOTO CREDIT: @diskander/Unsplash

A bigger voice and a larger cut.

FEATURE: Melody Cool on This Uncloudy Day: Mavis Staples at Eighty

FEATURE:

 

 

Melody Cool on This Uncloudy Day

PHOTO CREDIT: Getty Images

Mavis Staples at Eighty

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I realise I recently produce a piece...

 PHOTO CREDIT: Getty Images

about Mavis Staples for my Female Icons feature but, as Staples is eighty tomorrow, I felt it only right that I include her once more! It is important we mark the birthdays of music legends, I think, because it gives us the chance to celebrate, bring their work to new people and thank them for their contribution to music. When one thinks of Mavis Staples, it is hard to put into words what she has given us and the impact she has had on the industry. I have heard interviews Staples has given and she is always infectious, fascinating and compelling. Whether it is sharing stories from her past or talking about the new breed of artists, there is nobody out there like Mavis Staples. Of course, it is the music of Staples that hits the hardest. From her classics with The Staple Singers through to her new album, We Get By, the extraordinary Staples is a mesmeric artist. Her new album, in fact, is one I would list among the best from 2019. It seems that many critics agree with that assertion. In this review, American Songwriter noted how Staples’ voice is still an immensely powerful force:

“Harper dials down Staples’ often fire and brimstone attack to a more subtle, less aggressive approach that still connects beautifully with this relatively understated material. Additionally it showcases just how strong, sturdy, flexible and resonant her singing remains when many others her age have long since found their voices have weakened.

It’s unusual when discussing legendary artists to recommend newcomers start with their most recent release, as opposed to cherry picking older tracks.  But in the case of the phenomenal We Get By, novices to Staples’ iconic voice may want to begin here and work their way back”.

I have so much respect for icons like Mavis Staples who have been performing for decades and continue to inspire artists. It is tricky changing with the times and trying to appeal to various generations but, with the passage of time, Staples accrues more and more fans into her camp. In terms of interviews, as I said, she is always fantastic value and eager to talk about her own music as well as the new breed emerging. In this recent interview with Billboard, Staples was in fantastic form:

“To hear her laugh is to understand that her joy bubbles up from a well of inextinguishable enthusiasm, one she’s miraculously protected while living -- and singing -- through many of the darkest periods in modern American history. Staples has been using her voice to drown out hate since her first public performances with her family band, the Staple Singers, in the early ‘50s. Under the direction of her father, Roebuck “Pops” Staples, she, along with her brother Pervis and her sisters Yvonne and Cleotha, responded to the injustices wreaked by segregation in the Jim Crow South through song.

The younger crop of musicians penning songs for Staples have taken up the mantle of the other rock- and folk-minded artists before them, in that they, too, want to further Staples’ mission by giving her more to sing, thus offering her fans the salve they need to combat the onslaught of headlines in a Trumpian age. Live in London, her new album, was recorded over the course of two shows at London’s Union Chapel in July 2018, and serves as a transcript of a conversation between her past and present. New songs (like the Tweedy-penned “No Time For Cryin’” or Harper’s “Love and Trust”) blend seamlessly with the older standards (“Touch a Hand, Make a Friend,” the album closer, was a hit single for the Staple Singers in 1973) on her setlist.

PHOTO CREDIT: CLASH 

Regarding current popular music, and artists who embrace or encourage activism or political involvement in their work -- who’s doing really well on that front? Who are you really excited about or inspired by?

I like these kids today. Maggie Rogers, I love her. Brandi Carlile, she’s great. I’m proud of the young people today with the songs they’re singing… Youngsters are just falling in, singing positive messages in their songs. I appreciate that. I love Pharrell. When he came with his song, “Happy,” I said, Lord, why couldn’t I get that song?! I couldn’t get enough of it. It kept me smiling.

When Hozier came with “Nina Cried Power,” I just collapsed. He wanted me to sing it with him. I said, “Oh my God!” Nina Simone was a good friend of mine, and then all of the other artists that we’re calling out in that song are artists who have made commitments to the world through their message songs. I just had all kind of jittery feelings. He’s so handsome! I said, “Don’t look at me, Hozier! You’re making me blush!” [Laughs.] I had to tell him, “Andrew, that name doesn’t quite fit him for me,” so I said, “I’m gonna call you Hozier.” He said, “You can call me whatever you want, Mavis.” I enjoy him and his band so much. For an old girl like me to be having so much fun and getting excited again, it’s just god’s plan. As Drake says, it’s God’s Plan. [Laughs.]” 

I will end with Staples and her musical legacy (and impact) but there is so much to discover when it comes to her background and need to change the world. Through her music, she wants to compel change and awaken people to what is happening around them. I think this desire and compunction stems from her childhood; being raised in church and growing up in Chicago. In this interview with CLASH earlier this year, Staples reflected on her upbringing and her father’s influence:

“…Speaking of going to church, you once said that you were “just doing my job”. Do you think your role is to inspire spiritual change in people?

Yeah, it is. It’s what I’ve been doing all my life. And then, I’m the last one here - I’ve got to keep going. It is my duty to sing my songs for my father’s legacy, Dr. King’s legacy - I’m the last one. I don’t ever intend to stop unless I lose my voice, but yeah, it’s my job, and I think I’m doing what I’m supposed to be doing. I think the Lord put me here to sing these songs and to try to help bring love and hope into the world, to bring us together as a land of freedom, a land of hope, a land of love - people. You know, we’re living in trying times. This man has got us in trouble. This hatred and bigotry, it was subsiding; it was getting better. And then this man gets to talking and running his mouth, and all of a sudden here you see these people coming out of Charlottesville with torches marching all through the city, and I’m saying, ‘Are they going to come with burning crosses next? What are they doing, and how is this happening?’ Well, see, you weren’t seeing anything like that until he got in, and whatever he says, they feel like it’s alright to do what they’re doing.

You grew up in urban Chicago and Pops grew up in Mississippi on the infamous Dockery Plantation. How did the experiences of his childhood impact on your own?

Well, Pops would tell us stories all the time. What happened, we were singing because he had been singing with a group of men - the Trumpet Jubilees. He just wanted to sing, and these guys, they wouldn’t come to rehearsal. There was six of them. Pops would go to rehearsal and he’d see maybe two of them there, and the next week he’d go and there might be three or four. He just got so disgusted. He came home one night and he went in the closet where he had that little guitar, he called us into the living room, and sat us all on the floor in a circle. My Aunt Katie was there. She said, ’Roebuck, what are you doing?’ He said, ‘I’m gonna sing with my children.’ I didn’t even know Pops had a guitar! We had never seen it. It didn’t have all the strings on it, but he could make it sound alright. He sat us on the floor and he started giving us parts to sing that he and his sisters and brothers would sing when they were in Mississippi. So, the very first song he taught us was ‘Will The Circle Be Unbroken’. We were singing, and Aunt Katie came through and said, ‘Shucks, y’all sound pretty good. I want y’all to come and sing at my church on Sunday morning.’ Oh Lord, we were all so glad we were gonna sing somewhere other than on the living room floor! We go to Aunt Katie’s church, man, we sang ‘Will The Circle Be Unbroken’, and, you know, we didn’t know nothing about no encore or clapping us back. But people kept clapping us back. We ended up singing that song three times!”

Staples never wants to retire and she is determined to spread messages of freedom and the hope of a better world to the new generation. She believes in God’s plan and, in a way, I guess she is doing his work. Let’s hope we see Mavis Staples music for many more years to come because there is nobody that possess the same grace, humility and fascinating backstory as her! When you hear her speak and understand how she was raised, one cannot help but summon images; the young Staples in church or discovering all these great artists who would inspire her. I am ending with a Mavis Staples playlist but it is amazing to think that this iconic artist is still making the hairs stand at eighty (well, eighty tomorrow!). That innate power and spirituality comes from her time with The Staple Singers and the fact they took guidance from the messages of Dr. Martin Luther King Jr. Here, Facing History charts the background of The Staple Singers and their role in the civil rights movement:

 “The Staple Singers belonged to that tradition. Beginning as a gospel group, they became soul superstars at the height of the civil rights movement. As Rob Bowman notes in Soulsville, U.S.A., “They attempted to broaden their audience by augmenting their religious repertoire with ‘message’ songs.”

Musically and politically, The Staple Singers fit right in at Stax Records, that model of racial harmony in a time of societal upheaval. Co-owner Jim Stewart argued, “If we’ve done nothing more, we’ve shown the world that people of different colors, origins, and convictions can be as one, working together towards the same goal. Because we’ve learned how to live and work together at Stax Records, we’ve reaped many material benefits. But, most of all, we’ve acquired peace of mind. When hate and resentment break out all over the nation, we pull our blinds and display a sign that reads ‘Look What We’ve Done—TOGETHER.’”

Co-owner Al Bell went further: “Dr. King was preaching what we were about inside Stax, where you judge a person by the content of their character rather than the color of their skin. And looking forward to the day when, as he said, his little black child and the little white child could walk down the streets together, hand in hand. Well, we were living that inside of Stax Records.”

The “‘protest’ material against a ‘folk rock’–oriented beat” that The Staples Singers performed also owed much to King.

According to lead singer Mavis Staples,

The songwriters knew we were doing protest songs. We had made a transition back there in the sixties with Dr. King. We visited Dr. King’s church in Montgomery before the movement actually got started. When we heard Dr. King preach, we went back to the motel and had a meeting. Pops [Mavis’s father, who played guitar and shared lead vocal duties with his youngest daughter] said, “Now if he can preach it, we can sing it. That could be our way of helping towards this movement.” We put a beat behind the song. We were mainly focusing on the young adults to hear what we were doing. You know if they hear a beat, that would make them listen to the words. So we started singing protest songs. All those guys were writing what we actually wanted them to write. Pops would tell them to just read the headlines and whatever they saw in the morning paper that needed to be heard or known about, [they would] write us a song from that”.

I have just skimmed the surface of who Mavis Staples is and why she is so important but, as she turns eighty, it has forced me to look back at her start and gobble up as much information as I can. Staples is a musical treasure and someone who cannot help but stir the soul and put a smile on the face. As The Telegraph noted when they caught Mavis Staples’ set at Glastonbury a couple of weeks back, she still holds the power to enthral audiences of all ages:

“Her voice bellowed and rasped, ripe with age but having lost none of its bite. She made an impassioned speech about young people with guns, mothers who’d lost their sons, and children who’d been separated from their parents “in cages”.

“I’m tired,” she said, placing the blame at the foot of the man “in the White House”. And then this: “I’m going up to the White House. I’m going up there! I just might run for President!” “Are you with me? President Mavis! We’ve got work to do!” The crowd went wild.

As she left the stage to rapturous applause, she waved to all around her, clearly relishing the experience. Or perhaps this great soul survivor was practicing for yet another late career surge: as a politician. All hail President Mavis”.

Staples is a wondrous force of nature and we all wish her a very happy eightieth birthday! She has no plans to slow down and it is amazing seeing how much energy and passion she has! As we salute and tip our caps to Mavis Staples, enjoy a selection of some of her best-known and beloved songs. It (the playlist) proves that, in terms of power, legacy and emotion, there is nobody in music…

LIKE Mavis Staples.                                                                                                       

FEATURE: Scouts’ Honour: Thiago Silva and Pockets of Gold: The Problem with the Get-Famous-Quick Artist and How the Music Industry Overlooks Black Artists like Dave and AJ Tracey

FEATURE:

 

 

Scouts’ Honour

IN THIS PHOTO: Dave is one of the U.K.’s fastest-rising artists and released the sublime PSYCHODRAMA earlier this year/PHOTO CREDIT: Vicky Grout 

Thiago Silva and Pockets of Gold: The Problem with the Get-Famous-Quick Artist and How the Music Industry Overlooks Black Artists like Dave and AJ Tracey

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CERTAIN fads happen in music…

 IN THIS PHOTO: Glastonbury sensation Alex Mann rapped Thiago Silva with Dave last week and gained a lot of attention and praise/PHOTO CREDIT: Getty Images

and you sort of grit your teeth and try and get through it. We had the New Romantics and all of that; there was the Crazy Frog song and Peter Andre…but one thing that is not going away anytime soon is this quick-success story; the ‘viral star’ who is given a booster seat at the table of musical accomplishment without any sense of graft or purpose. I don’t know if anyone saw Dave perform at Glastonbury last week(end) and caught his amazing performance. After the release of his incredible album, PSYCHODRAMA, earlier on this year, critics and fans alike are unified in their praise and respect for the London rapper. One can argue the Streatham artist has seen his Spotify streaming figures rise because of what happened at Glastonbury. During one of his tracks, Thiago Silva, he called out to the crowd and asked if anyone would like to come up to the stage and sing with him. The set-up could have gone drastically wrong and a nervous fan might have been embarrassed in front of thousands of people. Unbeknownst to those in attendance, Alex Mann climbed onto the stage and delivered a knockout performance. To be fair, I do not want to crap over Mann and discourage him from pursuing a career in the music industry. I am sure he has a talent for writing and rapping but he came onto the stage and performed a Dave song that many other people knew.

That would be okay if he got some buzz and then sort of went away. He would have had the confidence to pursue his own path and discover that confidence but, as is the way with modern music and the way record contracts are handed out to those who have hardly worked, the viral star (dubbed ‘Glastonbury Alex’) has got himself signed. One cannot blame Dave for the outcome because he gave this rare opportunity to Mann and is now responsible for this unknown teenager being elevated to rare heights of celebration and fame. I can respect the fact that Mann is perfectly entitled to be an artist but, considering a week ago he was anonymous and has now got a record deal does not send out a good message. I have forgotten to mention the fact that AJ Tracey also appears on Thiago Silva and, as such, should get full props. There is a debate as to whether Alex Mann has actually signed a solid deal but, as this article explores, the boy is not short on offers! Many have taken to social media to laud Mann and underline the fact he stepped onto this huge stage and delivered confidently. That is fine but consider the fact that, essentially what he has done is recited some lyrics on stage…the same way someone would at a talent show or drunkenly at a pub. The fact that record labels are sniffing around Mann after a single, high-profile performance raises interesting questions.

Music scouts are in the world to, one hopes, discover the best artists around; those who have grafted and deserve their big shot. I have attended gigs where labels have been in attendance and there have been scouts looking to get a wet signature from a great new band or solo artist. That is the traditional, correct impression of music and connecting rising talent with labels. Of course, there is inherent issues regarding signing with management and labels so early. One is never sure whether the contract is favourable to the artist or whether the deal will be fair. In any case, talent scouts and those responsible for uniting musicians with labels should be at gigs and on the toilet circuit – seeing the moment when an as-yet-unknown artist gets that rapturous explosion of love from the crowd and seems to tasty to turn down. One question I have is whether, in an age where social media and streaming is dominating, whether it is easier scoring a viral hit and getting a record deal that way – compared to doing things the honest way and grafting your way to that platform. Are those who are responsible for marrying artists to record labels looking for genuine talent and longevity or are factors such as hype, novelty and quick financial turnaround more important? Even if Alex Mann shapes up to be the next best thing (which he won’t be!), he has not put in the requisite hours to warrant a record deal and does not have the experience to navigate pitfalls, hurdles and the demands of the circuit.

Artists who get contracts after years have played the circuits and they have won their stripes. Consider Dave and AJ Tracey and how they would have hustled, slogged and performed all around the place to get their voices heard. Dave was not on that Glastonbury stage because he won a talent contest or became an overnight hit on YouTube – the festival does not operate that way and books artists on the basis of merit and not because of some noxious fad. Now that Mann has got record companies chomping, one feels his resolve with dissipate soon and we will soon see a debut album – one presumes with generic Rap songs written by committee; an album that will be slaughtered by the press and, after that, one assumes natural entropy. Not only is that cruel to a boy who, one feels, is already looking ahead to headline festivals but it sort of send the message that all one needs to get a record deal is to be in the right place at the right time – so long as they can hold their nerve on the stage and, essentially, deliver someone else’s words. That is setting the bar pretty low and it does a disservice to those busking to get heard; bands sweating around the land and artists who have been plying and plugging for years! I do begrudge Mann his time in the sun and respect he is getting because, let’s face it, he got people together and talking – there is a big difference between letting that adulation fade and that experience leading to a record contract!

I came across an excellent article from The Independent that raises another question around music and race. Consider the fact Thiago Silva was performed by two black artists and, between them, they have a respectable and loyal fanbase. Dave and AJ Tracey are fantastic artists to watch and have got to where they are because of their innate talent, steely determination and mettle. Now throw in a third, white name into the pot and Alex Mann – who did not write the song or have any hand in it – is becoming more talked-about than the men who crafted the tune. If a black teenager came to the stage then would record companies be knocking down his door? I doubt it. There is this perception that the nervous white kid who beams cutely is a lot more appealing and marketable than a black artist who is far less sell-able and ‘chart-friendly’. One feels, if Mann does make an album, it will be far less gutsy and authentic than what Dave and AJ Tracey have created. Not too much is known about Mann but he does not strike me as someone who has lived the same reality as Dave and AJ Tracey: his narrative seems far more comfortable and, when you translate that into the studio, will people see right through that?! The Independent’s piece highlights how there is this instant divide between black and white artists: how the white artist is talked about in fond terms and is commercially viable whereas, in the case of black artists like Dave and AJ Tracey, they are seen as a bit dangerous, suspicious and, to be fair, no way as adorable as a teenager like Alex Mann:

“Meanwhile, Alex was invited onto Good Morning Britain, where Piers Morgan – who usually only acknowledges rap during debates on knife crime and gang violence, or else to insist white people should be allowed to use the “n” word – gushed over how Alex had supposedly “slayed” Glastonbury (no mention of Dave’s performance or Stormzy’s explosive headline show).

“That’s what the youth of today should be doing more of,” Morgan proclaimed, fawning so much he turned even redder than usual, “taking their chance and slaying it.”

IN THIS PHOTO: AJ Tracey/PHOTO CREDIT: Mike Prior

It was excruciating, not just for the fact that everyone watching will have known that, until now – and perhaps even after that interview – Morgan had no idea who Dave and AJ Tracey were. The same praise he was lavishing on this white teenager from Somerset would never be applied to the artists who actually put in the work, who made the beats and came up with the flow and the lyrics, and who both achieved top 5 albums this year. Interestingly, Morgan didn’t bring up the lyrics of “Thiago Silva”, which reference gangs and violence, in reference to Alex rapping them.

Dave and AJ Tracey are both independent artists who have capitalised on live performances and streaming, along with raw talent and hard work, to build their own careers with little support from traditional platforms. Just this month, it was revealed that AJ’s music has been streamed more than half a billion times, marking him out as a growing number of artists pursuing commercial success on his own. The only person he splits the profits of his music with is his mother. He’s a talented businessman as well as an artist, but without label support he has to work 10 times as hard as someone signed to a major”.

There is a lot to study and discuss when it comes to the perception of black artists today – and I cannot do it full justice – but I think it is glaring that Mann, without a sufficient backstory and collection of original tracks, is gaining far more traction and less distortion than Dave and AJ Tracey – two artists who have an impressive catalogue and are inspiring youngsters around the country.

 PHOTO CREDIT: @dizzyd718/Unsplash

Maybe it is that misguided impression we have of genres like Rap, Hip-Hop and Drill; the assumption that its proponents and supporters are out to conspire and cause trouble; they are promoting bad messages and are morally suspect. It is not a surprise that Piers Morgan did not know who AJ Tracey and Dave were and was fawning over Alex Mann. We know the man (Morgan) is a toad and someone who is completely ignorant and uneducated when it comes to genres like Rap and the black community as a whole. There are artists, sure, who will promulgate negative messages and perpetuate stereotypes; brag about wealth and celebrate violence in the neighbourhoods. That sort of music needs to be addressed and censored at a time when knife violence in London is running high – that is a different argument and, again, is more complex than the black-and-white. Dave and AJ Tracey are delivering the sort of music that Britain needs right now: truthful songs that dig down and expose the truth. The tracks go inside council flats and they walk the streets with caution. Dave, on PSYCHODRAMA, runs a gamut of emotions and shows no fear when it comes to creating these bold and exciting compositions. Critics and fans have lauded his work – quite right! – but he has had to work so hard to get there and, when it comes to publicity, are some press outlets a bit cautious when it comes to spotlighting a young black artist in modern Britain?

I am sure Alex Mann is actually reacting the same way many people are: surprised he is being offered a deal and, if he wants to get into music, step back and respect the fight his heroes have had. He is not the villain in this because he has not asked to be signed and he has not created all the publicity. My problem comes with labels and the media who put people like Mann on a pedestal when genuine artists like Dave and AJ Tracey are afforded less kudos and are producing brilliant original music. I think everything comes down to the fact that we live in a time when the panacea of talent shows provides false idols and one-album-worthy artists who are generic, commercially manipulated and exposed to the gaudy pantomime and excruciating sob stories of talent shows. I admit that some YouTube artists are worthy of greater respect (such as Dodie) but so many are getting famous because of cover versions of viral videos when there are hard-working and years-grafting artists who are getting overlooked. In today’s music scene, is getting a record contract easy when you are on a talent show or Internet but much harder if you go down the conventional routes? I do think we need to do away with talent shows and sending out the message that this is the way to get into the industry.

We still need record label representative and scouts at gigs but they need to follow artists who deserve record deals: this idea of seeing someone do a single turn on T.V. and then send record contracts their way is an insult to every artist who has toiled in anonymity in order to get a deal. I do hope that some of the approbation this Alex Mann story is getting opens eyes and means that, the next time some hopeful gets onto a stage and recites a few bars, record labels calm down and we can contain the brief fire – nip it all in the bud and not give any more thought to something that was good in the moment but has no potential or place in the world beyond that. I do think we also need to ask why genuine, genius black artists are being talked about in minor tones whereas white artists are given a lot more credit and positive attention. From Piers Morgan drooling over Alex Mann to AJ Tracey being given a slightly rough ride on the Victoria Derbyshire show back in February – where she did actually say the following: “Some of your other videos we were playing earlier on, you know, it’s almost like a bit of a shout-out to kind of gangs in London; I’m not suggesting you’re advocating gangs, but there do seem to be a lot of guys hanging out – is that a conscious message, or is that just the scene that you’re in, the music scene that you’re in?” – we need to tackle this discrimination, stereotyping and ignorance. Seeing the furor Alex Mann’s Glastonbury performance has caused has delivered a very bad message into the world and what it takes to get famous and noticed. It has also opened eyes to the fact that the men responsible for launching him to the public (Dave especially) are being comparatively ignored and seen in a very different light. Talent scouts, record labels and the media need to be aware of how they book talent and who they promote. Let’s hope Alex Mann is not given a deal and gets to think about his career on his own terms but, although this story/situation will dissolve (let’s hope!), I am afraid so much damage…

 PHOTO CREDIT: Getty Images

HAS already been done.

FEATURE: Une Belle Âme: The Intoxicating Spirit of Christine and the Queens

FEATURE:

 

 

Une Belle Âme

IN THIS PHOTO: Christine and the Queens (Héloïse Adelaide Letissier)/PHOTO CREDIT: Alex Lake (www.twoshortdays.com) for GQ

The Intoxicating Spirit of Christine and the Queens

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THIS might seem like a feature...

 PHOTO CREDIT: Getty Images

that is out of the blue or, perhaps, is designed to fulfil personal tastes and affection. In fact, when thinking about Héloïse Adelaide Letissier and her moniker Christine and the Queens, one can never really say enough nice things! She was one of the artists who played Glastonbury over the three-day weekend and played the Other Stage on the Sunday, 30th June. Not only did she look fantastic and put in a commanding performance - but she begged the question as to why there are not more female headliners at Glastonbury. Not only did we have Lizzo and Kylie Minogue whipping up the crowds and owning it but, with Christine and the Queens and Janelle Monáe producing these epic, physical sets, surely it is only a matter of time before we see more female headliners – let’s hope so, anyway! I am a particularly big fan of Letissier because, for one, she is so articulate and passionate when she speaks. I caught her chatting with Matt Everitt at Glastonbury (via BBC Radio 6 Music – I was sat there spying on them!) and, as he said after the interview played out, Letissier is more articulate and intelligent when speaking her second language than most people are in their mother tongue. One listens to Letissier discus her music, her progress and process and it is almost poetic! I promise I am not going into dewy-eyed, wide-smiled adoration: this is a feature that demonstrates and outlines why Christine and the Queens is a force to be reckoned with.

Check out Christine and the Queens on Twitter to see where she is heading next. In terms of bossing, truly moving performances, Christine and the Queens’ Glastonbury set will live long in the memory! Letissier bonded with and charmed her audience but managed to deliver this spellbinding, almost theatrical set that was beautifully choreographed and realised. I think a lot of artists are still beholden to rigidity and a very formulaic way of performing. They expose little in the way of conversation and biography from the stage and one can tell they are running through the motions a lot of the time. In the case of Letissier, she puts her everything into every performance and each time she takes to the stage we get a slightly different take. There is so many nuances in her performances and it makes her/Christine and the Queens a must-see. I will catch her next time she is around London because, as NME outlined in their review of Christine and the Queens at Glastonbury a week ago, this is an experience you cannot afford to miss:

“At times, the set breaks with captivating dance routines, first to Travis Scott’s ‘Sicko Mode’, and later to ‘I got 5 on it’ and Janet Jackson’s ‘Nasty’. “I just had to do it!” she says joyfully,  charming the crowd. Reminiscing about her first Glastonbury performance she tells the audience how much she loved it, before adding: “And I’m not even being nice to you! Since then I’ve been bragging about you, actually back in France I was like “Glastonbury!” and they were like “…okay”, I was like I want to call him back but I don’t have his number, and there you are again!”

It’s humbling to see an artist who’s so excited to be playing the festival, and throughout she clearly relishes every second of her time on stage. “Glastonbury! I’m going to say it until you get sick of it…” she tells the crowd.

The staging is more theatrical than that of a festival set, with elegant pyro raining down on Chris, dazzling lights strobing throughout and a rig that elevates her above the stage during an emotional version of ‘Saint Claude’. Further performance highlights come in an emotional cover of David Bowie’s ‘Heroes’, a welcome respite amongst the rest of the high-octane setlist, and an euphoric version of ‘The Stranger’ that ends with an apocalyptic light show”.

The Independent were full of praise when they reviewed Christine and the Queens’ headline slot at All Points East recently:

“The whiff of danger is in keeping with a somewhat apocalyptic evening. Just as Letissier was due to arrive on stage, a rainstorm erupted. Now, after a few songs from her excellent Eighties funk-inspired second album Chris, it has given way to a dramatic red sky. Whenever the singer steps out onto the walkway that stretches into the crowd, a forceful breeze causes her unbuttoned shirt to billow like a cape.

Letissier, for her part, is a potent performer, thrusting and flirting her way through a set full of sexual tension and premature climaxes – halfway through, a confetti canon showers the air with gold. During the gender-bending anthem “iT” from debut album Chaleur Humaine, she thrashes around on the floor, and then squares up to a female dancer in a display of lust and hostility”.

Not only is Héloïse Adelaide Letissier one of the finest and most scintillating, natural live performers out there but the music is so engrossing, rich and deep.

My first exposure to Christine and the Queens was back in 2014 with the debut album, Chaleur humaine. The very different-looking lead is on the album cover holding flowers, her hair longer and air of grace and romance lingering in the air. The 2015 edition of the album contains the phenomenal Tilted but, to be honest, the original version of the album is crammed with so much brilliance and life. It is an affirmative and gorgeous album but there is personal revelation and exposure that draws you closer to Letissier. I adore the debut album and think that it is one of the most confident and compelling from the past ten years. The press were keen to heap praise on Chaleur humaine. In my opinion, there was nothing like Christine and the Queens in the music world in 2014: this combination of keen intelligence, sophisticated emotional blends and sensual, sexual mixes that inflame the intellect, body and soul. The Guardian, when reviewing the record, define Chaleur humaine more succinctly:

“Chaleur Humaine is a rich and rewarding album that works whichever way you slice it. If you want to take it as an extended musical treatise on queer identity and non-binary sexual orientation, there’s plenty here to keep you occupied. Take, for example, the opening track iT’s declaration of “I’m a man now and there’s nothing you can do to stop it.” (Later in the song, an unconvinced Greek chorus suggest: “She draws her own crotch by herself but she’ll lose because it’s a fake.” Or take Half Ladies’ defiance in the face of abuse: “I’ve found a place of grace … every insult I hear back darkens into a beauty mark,” she sings, before another fantastic chorus – one on which her love of Michael Jackson shines through – sweeps the song along.

It’s informed by a sharp musical intelligence – Paradis Perdus takes an exquisitely orchestrated, vaguely Pink Floydish track from a 1973 album by French singer Christophe and Heartless from Kanye West’s 808s and Heartbreak, identifies a common mood between the two, and melds them together seamlessly – but one that it chooses to wear lightly. You never find yourself in the presence of music that sounds self-consciously clever. Everything flows easily, nothing jars.

“A song is like a virus,” Letissier told an interviewer last year, “everyone can have it.” It’s a lovely sentiment, and Chaleur Humaine bears that line of thinking out: for all the seriousness of the issues the lyrics explore, it always feels like a pleasure rather than hard work. The question of whether it will prove as infectious in the UK as it has on the continent is a tough one: the innate conservatism of mainstream British pop sits pretty uneasily with an artist who clearly thinks pop music can be both an unalloyed pleasure and a conduit for ideas, a means of provoking thought, a world in which you can reinvent yourself at the same time. The question of whether it deserves to be is more easily answered”.

Like Kate Bush adopting a more muscular and expressive sound on Hounds of Love (compared with, say, The Kick Inside), Christine and the Queens became Chris in 2018. The titular album is a bolder revelation and one where we see a marked difference on the cover – from the long-haired heroine holding flowers to the shorter-haired Chris providing a complex look to camera, one can see the changes.

 PHOTO CREDIT: Dustin Condren

I guess, to Letissier, Chris was a new persona; a reinvention who she could base her songs on. Chris is one of 2018’s best-reviewed albums and it is a staggering record. One can feel the changes and the shift in terms of personality but, at its heart, Chris is Letissier taking on new challenges and moving in new directions. The Independent, when reviewing Chris, had this to say:

“Letissier makes her vintage synths snap, crackle, pop, fizz, freeze, squelch, shimmer and soar. There’s even a shattered glass effect (on “Stranger”) to complete the Old Skool Electronica bingo card. Treble notes bounce from air-cushioned soles. Bass lines lasso your hips. Chiffon layers of Letissier’s Anglo-French vocals glide around your neck and shoulders and roll them back. It’s ridiculously danceable.

The quirky lyrical pleas for understanding of early hits like “Tilted” has been replaced by the empowered seduction of “Girlfriend”, on which lines “Don’t feel like a girlfriend/ But lover/ Damn, I’d be your lover” simmer over flickering flames of funk-guitar”.

I want to finish up with a couple of interviews – one from late last year and another that is more recent. In the 2018 interview, Letissier talked with The Independent about her sexuality, how she helped (men she dated) deconstruct their own masculinity – she also reacted to the way some journalists perceived her new ‘Chris’ persona:

“In her life off stage, Letissier sought love from a multitude of “macho men”. She’s said before that she learned how to be a woman from the drag queens she met. Did she learn anything about masculinity from these men? “I learnt about intricacy,” she says. “[All my life], I had to deconstruct my femininity because of how I felt, and who I loved... but people all deal with that complexity. I deal with it out in the open, because in a way I was forced to, but some people deal with it more secretly, and sometimes it creates wounds that never stop bleeding.”

For some of the men Letissier dated, she was the catalyst they needed to deconstruct their own masculinity. “They were confiding in me about those things they couldn’t deal with. And also I was taking a bit from their masculinity to [put] on my femininity. I feel like a weird composite. It’s one of my kinks to explore that. And the more I explore it, the freer I feel. But even in relationships that were supposed to be ‘woke’, with people who were as queer as I was, there were systems of oppression that were lingering. I’m just learning that actually, nothing is simple.”

More upsetting was the way certain journalists sneered at her new persona. “Sometimes when people interview me, there is a slight smile of like, ‘Oh so now you want to be called Chris?’ And I’m like, ‘How can you make me feel sorry about that? It’s all about reinvention and freedom. Come on, man. It’s playful, man. How come it’s violent enough for you to try to defuse it with mockery?’ It’s also fun. It’s also entertainment. Sometimes I read things and I’m like, ‘Sh*t, I’m not that solemn.’”

In this second interview, there is a feeling that Letissier feels more at home, focused and safe on the stage compared with her actual life. It is interesting seeing her talk about her styles of performance and the way she is pushing live music:

“On her most recent tour, she used her background as a theatre student to present a show that was a long way from standard arena pop dazzle but still visually unforgettable: grand painted landscape backdrops, a gentle snowstorm, falling lines of sand, a surprise balcony appearance, and dancers who eschewed formation routines to tell a story in movement.

“Some people were surprised at the theatricality of it. There were points where they didn’t know whether they should clap. I wanted to invite people in differently. It was an interesting challenge to think of big venues as something fragile. I wanted something really bare and exposed and naked”.

The amazing Héloïse Adelaide Letissier is different things to different people. Whether you associate her with the image and sound of Christine and the Queens’ debut or think her modern-day incarnation if a truer representation, that is the beauty of the artist: she is not restricted and is always looking to explore and evolve. She can captivate and allure in French and is far wiser, sharper and smarter than most native English speakers – a truly inspiring artist who is pushing down boundaries and barriers and delivering something unique and utterly fascinating. Keep a check of Christine and the Queens’ social media channels for tour dates and updates but, right now, the heroine is on a roll. Fresh from two big festival performances in the U.K., I don’t think there is a live performer as spellbinding as Letissier – maybe Lizzo and IDLES would run her close. In any case, Christine and the Queens’ figurehead is an exceptional human and musical package. An accomplished musician, a role model for women and the L.G.B.T.Q.I.A.+ community and, for everyone else, someone who drops the jaw and opens the mind, I felt compelled to salute Letissier. Whether you gravitate towards her earliest work or cannot get enough of Chris’ jewels; whether you adore her sense of boldness or gravitate toward the more vulnerable artist, it is clear Christine and the Queens’ Héloïse Adelaide Letissier is someone…

ADORED and respected around the world.

FEATURE: Female Icons: Part Ten: Annie Lennox

FEATURE:

 

 

Female Icons

PHOTO CREDIT: Annie Lennox/Getty Images 

Part Ten: Annie Lennox

_________

NEXT week...

 PHOTO CREDIT: Getty Images

I am featuring Aretha Franklin in this feature because, to me, she defines what an icon is: the grace and power she projected; the timelessness of her music and how her messages spread further than something commercial and obvious. In so many ways, she helped change the industry and provided the world with some of the most stirring songs ever. Although the Queen of Soul is no longer with us, she will continue to inspire and move people for decades to come. Today, I have been thinking a lot about Annie Lennox and how her music has impacted the music industry. Whether part of Eurythmics or as a solo artist, one cannot deny the sheer wonder of Annie Lennox’s voice. Born in 1957, Lennox caught the attention of the public in the late-1970s as part of the band, The Tourists. She was a member alongside future-Eurythmic Dave Stewart - and the two would go on to achieve huge acclaim and success through the 1980s. The 1980s was a wonderful and underrated decade and, to me, it is not defined by its great solo artists as it is bands. That might be a sweeping statement but, aside from a few obvious legends, I think more people talk about bands than the solo artist. Look at the greatest voices from the decade and, to me, Annie Lennox is right near the very top. If Eurythmics’ debut album, In the Garden, did not quite have the same impact and great reviews as their later work, it was a pretty impressive introduction and Lennox’s songwriting and vocal gifts were at the forefront.

I was born in 1983 and it was in that year when Sweet Dreams (Are Made of This) was released to the world. The title track is one of the best-known tracks from the album and I think it is Lennon that makes it shine. Listen to the way she projects the lines and the emotions she puts into the song. Lesser singers would do a very straight rendition but Lennox has her own dynamic; much more an actor projecting lines; ensuring every ounce of emotion and intrigue is put into the song. SLANT, when reviewing the album in 2008, highlighted Lennox’s soulfulness and natural abilities:

“Not only did the Eurythmics’ breakthrough Sweet Dreams (Are Made of This) give the genre a distinctly feminine voice, it helped give it soul, marrying the intentionally artificial, repetitive elements and robotic rhythms of techno to more organic sounds (a cornucopia of live flute, scat-like vocals, and synthesized organ creates a jungle milieu on the brief “I Have an Angel”; trumpets sound a lover’s forced departure on “The Walk”), not to mention Annie Lennox’s smooth, soulful voice. This was no more evident than in the title track (the album’s final single and the duo’s first U.S. hit), an ode to masochistic desire in which Lennox’s supple vocal takes on the stern, dominant tone of a taskmaster—and, mirroring the androgynous, Grace Jones-inspired dual personas of many of the group’s music videos, she is also the subordinate”.

Again, lesser bands would take a bit of a break before releasing another album - Eurythmics’ follow-up, Touch, came later that same year! With each album, Lennox was growing as a singer. Listen to Here Comes the Rain Again and the melodrama and cool vocals from Lennox turns the song into a masterpiece. There is no other singer that would give the track so much verve and personality, I feel. Contrast that was a slightly icier turn on Who’s That Girl and, whilst soulful and deep, Lennox adopts a different persona. Of course, the success of Eurythmics was down to the partnership and chemistry between Lennox and Stewart. With Stewart’s incredible compositional drive and direction, Lennox was free to roam in all manner of directions. An album like Touch does not stay still or have a singular sound. Right By Your Side is a more tropical, Caribbean vibe that shows how dexterous Lennox is as a performer. The 1980s was a huge and busy year for Eurythmics. Before 1985’s Be Yourself Tonight, the duo had already recorded a soundtrack (1984 (For the Love of Big Brother) and were riding a huge critical wave. Touch saw Lennox reach new peaks but I think her voice hit new plains on Be Yourself Tonight. There Must Be an Angel (Playing with My Heart) and Sisters Are Doin’ It for Themselves (with Aretha Franklin) are incredible songs and, when on the same track as Aretha Franklin, Annie Lennox does not sound inferior at all – she manages to match the Queen of Soul seamlessly.

The reviews, again, for Eurythmics’ music was impassioned. AllMusic, when reviewing Be Yourself Tonight, highlighted Annie Lennox’s incredible vocals:

“The second single, which was a huge chart topper in Europe, "There Must Be an Angel," is nothing short of shimmering beauty, with Lennox providing truly angelic vocals and Stevie Wonder lending an enchanting harmonica solo. Aretha Franklin lends her powerhouse pipes for the duet "Sisters Are Doin' It for Themselves," which has gone on to become an immortal feminist anthem. From the soulful electronic beats (a rarity) in "It's Alright (Baby's Coming Back)" to the beauty of the Elvis Costello duet "Adrian" to the pain and longing of the sorrowful rocker "Better to Have Lost in Love (Than Never to Have Loved at All)," this album runs a wide array of musical styles, each song standing tall on its own two feet”.

Perhaps Be Yourself Tonight was the last huge Eurythmics album – although 1986’s Revenge and 1987’s Savage had their share of fine moments. We Too Are One was the last album the duo recorded until 1999 and, in 1989, there were signs that Annie Lennon wanted to move in her own direction. Consider the big albums of 1989 and perhaps Eurythmics’ sound was not as striking and original as it once was; tastes where changing and, whilst Annie Lennox remained this pivotal force and unique singer, it was clear that a change was afoot.

I love Eurythmics and grew up listening to their music. Although I am a big fan of Dave Stewart, it has always been Annie Lennox’s lead that has won my heart. When she went solo, even though I was not even nine when her debut album was released (in April 1992), I latched onto her music and was transfixed. Entering a new decade, it would have been understandable if Lennox took a bit of time out and struggled to assimilate. Coming from a successful duo, Annie Lennox effortlessly mastered solo life. Diva is a classic and hugely memorable album that went to number-one in the U.K. charts and sold over a million copies in the U.K. alone. Diva won the Album of the Year award at the 1993 BRIT Awards and was nominated for Album of the Year at the Grammys that same year. Any album that opens with Why and Walking on Broken Glass is impressive but Diva is much more than the sum of its opening duo of tracks. In Eurythmics, Lennox had shown her vocal prowess and multiple sides; she was blossoming as a songwriter but I think her debut solo album unified everything and took her to new heights. SLANT, in this review, marks Diva as one of the finest albums of 1992:

“The song, "Why," is hardly the sort of melodramatic setting we'd imagine from an album whose very name evokes histrionic pretense. But Annie Lennox isn't and has never been a representative pop diva. Her body is lanky and angular instead of curvaceously plush. Her exaggerated facial features (capped off with a most spectacular set of cheekbones that she wisely never allowed her hair to grow long enough to cover) are matched in androgen-fabulousness only by her tremulously guttural alto.

The first album Lennox released after the Eurythmics called it quits, Diva's relative quietude is reflective of a woman in full awareness—if not complete control—of the occasional ostentation of her emotional whims. It's musically analogous to All About Eve's ferocious Margo Channing during those rare moments when she's alone and contemplating the social consequences of her violent temper. It speaks exactly what she (Margo, Annie, every woman…) wished she could convey, but the music underneath most of the album's tracks is filled with the rumbling turbulence that betrays her best intentions. Practically speaking, the music video for Lennox's baroque dance hit "Walking On Broken Glass" harnesses this stress to a T. Dressed in Amadeusboudoir finery (not to be confused with the Vegas headdress crowning Lennox on the album's disingenuously gaudy cover), the clip's heroine finds her flirtations ignored until she gets her paramour alone in her chambers. He mistakenly reads her interest as sexual heat and, outraged, she casts him away, banging her fist against the wall in synchronization to the song's rimshots. "Every one of us was made to suffer," she reasons. "Every one of us was made to weep." One of the most brilliant singles of the era, "Walking On Broken Glass" and its video cast a suspicious eye on the deliberate façade-maintenance of modern pop by playing up the same mixed signals that equips Diva with its power”.

1995’s Medusa is an album of cover versions but, unlike so many covers albums, Lennox seems to have a real attachment to each track and makes the music her own. No More I Love You’s is, perhaps, the best-known track from that album but some did find the choice of covers unusual and wrong-footed. It took until 2003 before another album came about. Bare is one of Lennox’s most affecting and emotion records ever. No singles were released in the U.K. and, whereas that might have meant commercial suicide, there wasn’t anything as immediate and chart-friendly as previous album. Bare is best enjoyed as a single experience; playing the songs together and seeing it as one body of work – rather than dividing songs and choosing certain ones for special treatment. Just when you thought Annie Lennox could not get better and more accomplished as a writer and singer, she managed to outdo herself on Bare. AllMusic summed up the album like this:

“But it's in the lyrical paradox where the grain of her voice goes straight for a truth and need that the listener almost feels she's peeled off one layer too many -- not hers, ours: "I wanna hold you/And be so held back/Don't wanna need you/But it's where I'm at/Thinkin' about you every day/How come I was made that way...God it makes me so blue/Every time I think about you/All of the heat of my desire/Smokin' like some crazy fire/Come on here/Look at me/Where I stand/Can't you see my heart burning in my hands?/Do you want me? Do you not?"

The previous track is a guitar-kissed ballad with limpid choruses that sear with the truth of having believed -- perhaps willingly -- each lie a lover ever told; it is destined to be played in every post-midnight, brokenhearted, half-empty bedroom for decades to come. And though the previous examples come from near the middle of the album, they don't begin to tell the whole story, as each track fits hand in glove with another. It not only can be taken as a whole, it must be, for it rains down on the heart of the listener with such a fierce life force, despite the depleted spirit exhibited in many of the cuts. There are no more words for the ravaged, triumphant Bare -- the truth of its fineness and devastating beauty is in the hearing”.

Annie Lennox’s most-recent album, 2014’s Nostalgia, is another covers album but one that fared better with critics. I do wonder whether Lennox has plans for another album because there is always that demand. It is not only her phenomenal music that leads me to believe she is a true icon. Lennox is a social activist and has raised money/awareness for AIDS/HIV (and how it has affected women and children in Africa). She was awarded an OBE in 2011 and constantly features in the lists of ‘greatest singers ever’. Small wonder that so many artists look up to her and she is revered so much.

One only needs to look at the awards Lennox has won and the accomplishments that makes her C.V. so hard to beat. In 2007, Lennox performed at the Nobel Peace Prize Concert in Oslo and she appeared the following year at Nelson Mandela’s 90th Birthday Tribute. In 2009, Lennox opened the Edinburgh Festival of Politics and condemned Pope Benedict XVI’s approach to AIDS and HIV prevention in Africa – the Pope denounced condoms and, quite rightly, Lennox highlighted how this was hugely irresponsible. Lennox received the Music Industry Trusts Award for her music and charity commitments in 2013 and, yet again, it was a well-deserved nod of recognition. Not only is Lennox a political and social activist but she is a big supporter of the L.G.B.T.Q.I.A.+ community and, as a result, Lennox is a gay icon. From the eye-catching videos with Eurythmics through to her solo work, she has helped shape popular culture and change attitudes – alongside peers such as Madonna and Michael Stipe. Lennox, like all icons, is more than a musician. She strives to make the world a better place and affect change. She is not using her fame to get ahead and see change but, instead, tirelessly working and raising awareness where she can. As a feminist and activist, she has helped bring about discussion and break down walls. Before rounding things off, I want to bring up an interview Annie Lennox conducted in 2011.

She spoke with High Profiles and talked about her start as a singer and the importance of campaigning:

“Had your heart always been set on being a singer?

No. I always sang, always, but I never thought of it in any other terms than [being] just for my own pleasure. No, actually I was fairly proficient at the flute and I had an idea that I would become a classical flute-player; but the standard is so high and so specific, I quickly realised… You know, I was the best in my town, as it were, but there are hundreds of towns like that full of people who are far more gifted than you.

I get the impression that you were quite a shy person – and yet only a few years later you were this exuberant performer sporting a man’s suit and dyed orange hair…

Oh, I am a shy person. I’ve always been a shy person. I don’t think it’s that unusual to find that a performer off-stage is not the person you might assume they are. A stage persona allows you to work in a very different way from [what you are like] in normal circumstances.

Has campaigning made you less melancholy?

Well, if I’m less melancholy… I would say yes, I would definitely say so, because I have to say that the wake-up experience of being face-to-face with people who have absolutely nothing and then coming back to a Western world that is so fully resourced – whenever one might slip into a ‘Poor me!’ state, you’re swiftlyreminded that, wait a minute! this kind of pain – anguish – you bear is just negligible compared with people whose whole life…

PHOTO CREDIT: Mike Owen 

If you were born into chronic abject poverty, you have a very small, small chance of getting out of it – that’s a fact. And the only way, the only way, you could possibly take a step towards, you know, the exit would be [through] education. But if you can’t get food in your belly to help you to concentrate through the day, that education isn’t going to help. And then if you get an education and you can’t get a job even so, that’s also a problem. The odds are so stacked against people, and that is – that’s the injustice that I can’t bear.

If you had to give up either the campaigning or the music, which would it be?

Well, that puts me in between a rock and a hard place, really. I would… I would be a campaigner, yeah. But at the moment I’m so fortunate because I can do many things, and so I’ll just continue doing what I do until I can’t do it any more.

And when you can’t do it any more? Does that worry you?

Ah, you mean getting older? Well, it is what it is. Does it worry me? I don’t think it helps to worry about getting older, so I tend not to – I look on it as a journey, and I think that I’m very fortunate to be 56 and to feel like a – you know, my mind is incredibly inspired and driven to engage with things that I feel passionately about.

I mean, I’ve lived a long life and I’ve had the benefit of youth and I often look back on it and it seems like there was a lot of vanity in it (but no one realises that until maybe they’ve lived a bit longer). They say that youth is wasted on the young, and very often it is; but the trouble is, people keep seeking eternal youth as if that would be the solution, and I don’t think it is – I feel that you must move, you must keep flowing, you must grow old graciously and – actually, almost with excitement. Being older, I can let go of things that once were so important to me. It’s like: Do you ever look back on your childhood and think how obsessed you were with sweets and wish you were still that person? I don’t”.

Annie Lennox is the type of human who will not rest until there is equality and progress in the world. She is this amazing spirit and campaigner who is inspiring to watch and, as an artist, Lennox has been responsible for some truly staggering songs. Her voice is unlike anyone else’s and, whether with Eurythmics or working solo, Lennox has inspired and influenced so many other artists. One only needs to listen to a single Annie Lennox track and you realise how much music means to her and what her voice can do. I think Lennox is a treasure and let’s hope there are more albums from her in the future. If you have not listened to her solo work or are new to Eurythmics, make sure you right that and investigate immediately. There is nobody like the wonderful Annie Lennox and, for that reason, there was no doubt in my mind that she belonged in my…

FEMALE Icons feature.

FEATURE: Spotlight: Hatchie

FEATURE:

 

 

Spotlight

PHOTO CREDIT: Sophie Hur 

Hatchie

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THERE are a lot of great female artists emerging...

 PHOTO CREDIT: Sarah Louise Bennett

at the moment but, to me, Hatchie is one to watch closely. I think 2019 has been a really exciting year for music and so many great albums have been put out already. Hatchie is someone who definitely needs to be on your mind. She sort of combines the sounds of Kylie Minogue; Cocteau Twins, Kate Bush and Wolf Alice to create this stirring and evocative sound. She is sort of Dream-Pop  but there is Shoegaze and Alternative blends working alongside one another. The twenty-six-year-old, Brisbane-based artist has released one of 2019’s best albums – I shall come to that soon – but has been turning heads since her debut E.P., Sugar & Spice. Hatchie (Harriette Pilbeam) started singing as a child and fell in love with music from a young age. One can only imagine the range of sounds and records that the young musician would have experienced in her house. Hatchie picked up the guitar and bass in her teen years and the piano and clarinet later on. It is clear that there was a clear curiosity and desire burning. Early singles such as Sure (her second single released in 2017) tuned heads and announced her as an original talent and, in January 2018, Hatchie signed with Double Double. The Sugar & Spice E.P. arrived on 25th May, 2018 and received hearty critical praise. The five-track release (four previously fresh tracks and an additional track, Bad Guy) is terrific to listen to and contains many highlights.

Here, in this review from DIY, we hear about some of the musical influences that would have guided Hatchie:

“‘Sugar & Spice’ cements her as the modern day successor to dream pop titans Cocteau Twins from the get-go. Robin Guthrie had already blessed her with a remix of ‘Try’ in 2017, but his influence shines through even more with the opening bars of ‘Sure’, as shimmering guitars wash through in layers. ‘Sleep’ is a climactic follow-up built around shuffling beats and heroic choruses, with a smoky hook that recalls Depeche Mode’s ‘80’s classic ‘Just Can’t Get Enough’. Later, the title track’s shoegazey guitars closely mimic the iconic, ethereal sound of My Bloody Valentine.

Harriette doesn’t possess the unique, wobbly vocal style of Elizabeth Fraser, instead opting for pure, uplifting pop hooks (it’s telling, then, that she counts Kylie Minogue among her influences). It comes naturally to her - “all my songs start with singing,” she says - which makes sense given the vocal strengths present across these five tracks. With a finessed production tying everything together, the end result is pretty ecstatic”.

In a year that has seen so many great women emerge and own, Hatchie can definitely be added to the conversation. She writes about love and heartbreak but can do it in a very fresh and original way – and ensure that it resonates and connects with the listener.

 PHOTO CREDIT: Kristina Wild

The incredible Australian artist is definitely hitting a high right now. Her album, Keepsake, was released on 21st June and it has definitely collected some big reviews. Here, in AllMusic, there were plenty of impassioned words:

“On the album's luminous second half, Hatchie returns to the more familiar terrain of Sugar & Spice with the strummy ballads "When I Get Out" and "Kiss the Stars" as well as the irresistible finale "Keep." She also finds new nuances within her blend of dream pop and pop with a capital P -- somehow, "Without a Blush"'s swooning guitars and vocals have as much in common with Curve's "Coast Is Clear" as they do with Taylor Swift's "Wildest Dreams," while "Stay with Me" proves she's as capable of epic emotional climaxes as any chart-topping artist. Throughout Keepsake, Pillbeam develops the flair for pairing widescreen sounds with down-to-earth lyrics that she hinted at on Sugar & Spice. "Obsessed" is a standout, not only for its nagging arpeggiated synth hook, but for the clever way she dismisses her feelings while hinting at how deep they run. By contrast, "Her Own Heart" is unabashedly earnest and, with its clouds of guitars and piles of harmonies, one of the album's prettiest moments. As Hatchie exceeds the expectations set by Sugar & Spice, Keepsake reflects her growth into an even more confident and varied artist”.

DIY were back for another taste and were deeply impressed by Keepsake:

“As Hatchie, Brisbane native Harriette Pilbeam provides the soundtrack to falling in love. She floods your ears with dreamy melodies, sugary tones and lush vocals, nestled in a perfect middle between Cocteau Twins and Alvvays - though commanding an artistry entirely her own. Having already released a slew of strong singles, the debut LP from the Australian musician veers away from the sometimes-sickly sweet sound of her older work.

She ventures out into pulsating basslines and deeper, darker ‘80s synthpop while still being able to turn virtually every sigh of a melody she breathes into an earworm. “If I could kiss you one more time, would it make everything alright?” she wonders on ‘Without a Blush’, before pleading “Give it a try,” on ‘Unwanted Guest’. She writes and wears her heart on her sleeve, half-singing, half-sighing through her songs with wide-eyed candour, shining through such swoon-worthy dream- pop. At some point, you’ll wonder if it was Hatchie’s heartache and pain that was written about, or your own”.

Maybe it is the dreaminess of her music or the fact, as some reviewers have noted, Hatchie provides comfort and wide-eyed gaze at a time of turbulence…it is very good she is in the world and providing music that can lift us but make us reflect at the same time. Even though Hatchie is writing beautiful music, her subject matter has changed and she has definitely evolved since her debut E.P. In an interview with Rolling Stone, Hatchie explained how her music has altered in the last year or two:

“During the past year or two, Pilbeam became acutely aware that her music was being viewed primarily as a vehicle for expressing romantic infatuation. Early songs like “Sugar & Spice” and “Sleep” were bright, synth-heavy depictions of the near-delirious early rush of love. “Just come see me in my dreams,” she sang in the latter, “No wonder I’m smiling in my sleep.”

But when she began writing Keepsake, Hathchie knew she wanted to change course.

“As a young woman, I was like, ‘What is this saying about me that all my songs are about this?'” she says. “There’s nothing wrong with that, but I put a lot of pressure on myself to not write about that, which is silly because it’s what everyone writes about.”

Some of the best songs on Keepsake make explicit Hatchie’s ongoing process of sorting out the parameters of her own work. “You can call it an obsession/Call it anything you want to,” she sings on the opening standout “Not That Kind.” It’s a line of winking self-awareness for an artist who’s become increasingly aware of the importance of self-definition, even as she’s realized that her creative persona is ever-evolving.

“I feel like I’m changing so much every six months,” says Pilbeam. “Even this new album feels like a past version of myself.” Since the recording of Keepsake, she’s found herself writing unadulterated dance-pop. She enjoys these early stages of writing, before she needs to conceive of her work within the framework of her career to date”.

In some ways, Keepsake is Hatchie starting over or discovering who she is. It is clear that her new album has been taken to heart and the author cannot help but feel pleased with what she has accomplished. Hatchie has an Australian tour coming later in the year but I hope there are dates in the U.K. coming up.

 PHOTO CREDIT: Getty Images

Many people here would love to see her perform and, with Keepsake still fresh, hearing those songs live and in-person would be an amazing experience. I am going to follow Hatchie closely but, if you are new to her work, go back and listen to Sugar & Spice. Although Hatchie has since adopted a new lyrical and musical approach, I maintain the E.P. is fantastic and a great window into an artist who was making some early, impressive moves. This year has been a competitive and thrilling one for music and it will be hard to call the best albums of 2019 come December – I do think Hatchie’s Keepsake needs to be in the mix. She has this wonderfully rich and engaging voice that brings you into the mix and, in a way, sort of unites you with other artists; musicians she grew up around and still adores. She is only just begun and I do think there will be a lot of great albums coming from Hatchie. It is clear she is doing something different and wonderful and, at a very angry and divided time, Hatchie is giving us music to soothe the soul and warm the heart – although there are tears and soul-baring moments to be found. The spectacular Hatchie crosses boundaries and genres and you cannot help but fall in love with her music. If she does come to the U.K. and plays some shows, make sure you go and see her as it is an experience…

 IMAGE CREDIT: Hatchie

YOU will not want to miss.

________________

Follow Hatchie

PHOTO CREDIT: Sophie Hur 

Facebook:

https://www.facebook.com/hihatchie/

Twitter:

https://twitter.com/hihatchie

Instagram:

https://www.instagram.com/hihatchie/

Spotify:

https://open.spotify.com/artist/3d7MqowTZa2bC5iy1JXLLt?si=MOfUYqgVSnOvsNVcztiPmg

YouTube:

https://www.youtube.com/channel/UCLqA-CAXCKfaGIERFHLd45Q

TRACK REVIEW: Skunk Anansie - What You Do for Love

TRACK REVIEW:

 

Skunk Anansie

PHOTO CREDIT: Tom Barnes

What You Do for Love

9.2/10

The track, What You Do for Love, is available via:

https://www.youtube.com/watch?v=Kvg88K6JshI

GENRE:

Alternative-Rock

ORIGIN:

London, U.K.

RELEASE DATE:

5th July, 2019

LABEL:

100% Records

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I have not got a lot on today…

and, rather than put out a lot of work, I thought it would be good to consider a few great artists and things happening in music right now. That might sound pretty vague but I mean I want to take a bit of time to ponder the new single from Skunk Anansie. There is a lot to cover when we think of the band because they have been on the scene for so long. I want to discuss their legacy and why they are a favourite band of mine; why Skin is a particularly inspiring figure and why she is a role model to many; why bands like Skunk Anansie will remain in the heart and how they are compelling newcomers – a bit where they might head next and what is in their future. I have been checking out Skunk Anansie and their movements recently and, sort of coming between their gig plans and excitement is a story involving them and Stormzy. We all know Stormzy was the first black rapper to headline Glastonbury – and he did so last weekend in true style! There was a lot of anticipation when Stormzy was announced as the headliner and many wondered whether he would be able to pull off such a huge gig. By all accounts, he smashed it and the dust has just about settled. There was a bit of an error on his part when he claimed he was the first black British artist to headline Glastonbury. Sky explains more:

“Ahead of his history-making Glastonbury set, Stormzy was understandably proud to share its significance with the world.

However, while he is the first black British male solo performer and rapper to headline the festival's famous Pyramid Stage, he actually got it wrong when he said he was the first black British artist - as Skin, the frontwoman of 1990s rock band Skunk Anansie, has pointed out.

Skunk Anansie, famous for hits including Weak, Hedonism (Just Because You Feel Good) and Brazen (Weep), were Glastonbury headliners in 1999, along with REM and Manic Street Preachers.

After realising his error, Croydon-born Stormzy, real name Michael Omari, has now apologised to the singer for his mistake.

He tweeted: "Skin from the band Skunk Anansie was actually the first black artist to headline glasto she done it with her band in 1999 no disrespect intended and MASSIVE salute to you - my apologies! @skinskinny."

She wrote: "Sorry Stormzy but we beat you to it in 1999! 20 years ago! And while we're on topic, I was the first black Woman too! @beyonce Wishing you an awesome nite tho, Kill it! You're amazing and we're all very proud. ps. Real question is why it took 20 years!"

It is only write Skin corrected him and, as the lead of Skunk Anansie, she was the first black British headliner – the first black woman to do so, too. I think things between Stormzy and Skunk Anansie are okay and, to be fair, it was an honest mistake. It is great that Stormzy made history but one wonders whether festivals like Glastonbury are doing enough to put black artists higher up the bill. Certainly, strong black artists like Lizzo, Janelle Monáe; Dave, Stormzy and Janet Jackson provided these incredible sets and newcomers like Grace Carter showed they were definitely worthy of greater exposure. I guess there is still a problem in music regarding race and whether black artists are given the credit they deserve. Modern icons such as Beyoncé have helped pave the way but there is still so much to do. I looked at that Twitter interaction between Stormzy and Skin and it sort of struck me how few black artists have headlined festivals. Skin was the first black woman to headline back in 1999 but, apart from Beyoncé a few years back, there has been a surfeit of black women appearing as a headliner. The same can be said for the men. Both Skin and Stormzy are pioneers, in a way, because they have helped raise awareness and open eyes. I have mentioned a few brilliant black artists but, to be fair, there are so many more who could headline a major festival.

Next year is Glastonbury’s fiftieth and I do wonder we will see another black artist headline the Pyramid Stage. Maybe Beyoncé will return or we will see Stevie Wonder play; perhaps Lizzo will be promoted and get to headline or there might be a new act that gets the same sort of platform as Stormzy. In any case, there is a real issue I think regarding black artists and a relative lack of support. This is something I want to cover in more detail at a later date but I think it is interesting to see Stormzy and Skin, without knowing it, discuss race and how rare it is to see a black artist headline. I will talk more about it in time but I do think more needs to be done to facility greater racial balance. Before I come to look at Skunk Anansie’s  latest track, I want to raise a few other points. I have been following Skunk Anansie since they started out in 1994 and, right now, they are touring Europe to celebrate twenty-five years together. Albums such as Paranoid & Surnburnt (1995), Stoosh (1996) and Post Orgasmic Chill (1999) followed me through my school years and I was awakened to this wonderful band. I especially love Post Orgasmic Chill because tracks such as Charlie Big Potato and Lately were huge tracks. Listen to the early work of Skunk Anansie and it still sounds so fresh and exciting. I think the band were a bit of a revelation in the 1990s because, when they arrived, Britpop was still raging. They offered something alternative and harder-hitting for those who wanted to experience a more thrilling and visceral form of music. Of course, emotion and vulnerability was always part of Skunk Anansie’s make-up and they have continued that to this day. I was especially captivated by Skunk Anansie because they were mixing Alternative sounds of America with British Pop and making it sound so natural and effortless. With a strong, black female leading the band, one could not help but notice this band that were inspiring others and captivating a generation.

Some might say that is a strong statement but there was so much love out there for Skunk Anansie. There is still that affection and, the fact they are embarking on this anniversary tour shows there is so much love out there for them still. I think, when Skunk Anansie arrived in the 1990s, they helped bring Britrock more to the fore and gave guidance to a lot of bands coming through at the time. Now, we listen back and there is such a rich catalogue of material that, as I said, sounds completely wonderful and original. I can listen to albums like Stoosh now and I am taken back to a great time but I also listen to music now and wonder whether there is anyone quite like Skunk Anansie. For sure, there are many bands who have been inspired by Skunk Anansie and have followed them closely but, at a time when there is still too much Pop and not enough proper Rock around, I feel Skunk Anansie play an important role. We are in a difficult time right now and, whilst great Post-Punk bands such as IDLES and Fontaines D.C. are providing some release and guidance, I do think there is a place for bands like Skunk Anansie – those who can provide political anger but also emotional outpouring. There is a definite gap in the market and the fact that we have the original band still putting out music will, I feel, compel bands in the underground to come through. Skunk Anansie are Skin (lead vocals, guitar), Cass (bass, guitar and backing vocals); Ace (guitar, backing vocals) and Mark Richardson (drums and percussion) but, to me, Skin is the standout member. That is no disrespect to the rest of the band but I find Skin utterly engrossing and fascinating. At a time when there are not that many black women at the forefront, she is someone who is still talking about imbalance and the need for change.

I do feel things need to change in the industry as a whole and it is great we have artists like Skin opening up and laying it down. I will bring in an interview she conducted this year with VICE where she discussed her sexuality, twenty-five years of Skunk Anansie and her relationship with anger through music:

“Skin – and her signature rasp, as blared out of many a CD player – is punk not only through her words, but in her very presence. As an openly queer black woman heading a band that thrived in the whiteness of the 90s English rock scene, she stirred up a cocktail of vulnerability, anger and a refusal to conform that spoke to her fans across age groups and time zones.

When you look back at 25 years of Skunk Anansie, which challenges are you most proud of overcoming as a band?

I think that the most challenging thing about being in a band, a rock band in particular, is maintaining it. There are moments when you’re having hit singles, but then when you don’t have an album out you almost disappear to people, you know?

If I stop and think about the most successful thing we’ve done, it would be able to maintain success over a 25-year period, even though we, for eight years, weren’t even on tour. We’re still here! And very few bands from the 90s are still relevant, making music, still liked and all those kind of things. Most British bands that came out in the 90s don’t exist anymore. Or if they do, they exist in a way that I find really cheesy and nostalgic.

There’s been a lot of different labels given to your sexuality over the years. How do you identify?

It moves. Sexuality really moves. At one point I was very bisexual: one minute I was with a guy, the other minute I was with a girl. Now I feel much more lesbian, because I’ve been in a relationship with a woman for two years. But guys are still cute; I still fancy them. I see myself as queer, because I think sexuality is much more fluid. I feel like I don’t need to sexually identify with one thing or the other anymore. The term ‘queer’ is much more honest and gives me some space to manoeuvre. If I say I’m bisexual then that’s me defined. if I’m say I’m a lesbian then, “what are you doing snogging that guy?” I feel like I’m not entrapping myself if I just say I’m queer.

What’s your relationship with anger in your music?

Anger is very good for you, it’s a very powerful thing. Aggression isn’t. You can be angry and it can be quite forceful, because we’re living in a world that needs anger to get things done. You need to rile people up and get them angry to get things done. That’s the intellectual use of passion. But when people just get aggressive and violent, I feel like you’ve lost.

I’ve always tried to use anger as a positive force – it gives you a bit of a shiver up your spine when you read certain things and think, ‘That’s not right.’ I never go, ‘That’s not right, I’m going to write a song about it’ – that’s not really how I roll. Things just come out spontaneously, and as a consequence, they come out in your voice, in the right way. When you are truly angry about something and a song comes out of it, it’s really powerful and useful”.

I think Skunk Anansie have changed through the years and some can say that their modern material is a little calmer and not quite as fired as their earlier work. That is a natural progression I think but there is still plenty of grit and emotion at the heart. Skin has not changed a lot (thankfully) and I am so glad Skunk Anansie are still playing together. So many bands who have been playing for so long split up or they take long breaks but, whilst they did take time out between 1999 and 2010, it seems like the band are solid and continuing on. They are such an important part of my early listening experiences and I think the band will carry on motivating the new generation and inspiring those coming through. I shall move on to reviewing What You Do for Love in a minute but I amazed there is so much love out there for Skin and the guys. It is not surprising but, often, when a band has been performing together for years, the attention fades after a while. Skunk Anansie have retained followers who were with them in the 1990s but they are picking up new fans and have this great mix of generations at their gigs.

Skunk Anansie are a great band who helped change the landscape in the 1990s and, twenty-five years since their formation, I can hear their essence in others. Skunk Anansie are touring with Allusinlove and this is a band who takes guidance from Skunk Anansie. There are many more bands around who take inspiration from Skunk Anansie and that is humbling to see. I think Skunk Anansie have many more years left in them and, although they are slightly different to the band we knew back in the 1990s, their core principles and sounds remain true. If they were to change too much then they would risk alienating fans but I do think the band have kept a lot of that rawness but are bringing in new maturity and themes. It has been a little while since we saw any album action. 2016’s Anarchytecture was the last album from them and I do wonder whether they have plans for a new album. I believe there are plans to release an album to mark twenty-five years of Skunk Anansie but, going forward, has that provided them fresh impetus? I am excited to see where they head and what their future holds. Right now, What You Do for Love is out and people are it is a pretty great track. It took me a few listens to adjust because, recently, I have been looking back and checking out the early albums from Skunk Anansie. There is that unmistakable Skin-led energy and physicality but there are new shades and colours, as I said, in their current work. That is a good thing because it shows the band are moving forward and not willing to trade on their past glories. It is about time I got down to reviewing their latest track because it is corking and shows that there is still nobody in music quite like them.

I have mentioned how the latest Skunk Anansie slice is less feral and wild than their classic work but, to be fair to them, the opening stages are pretty intense. The guitars squall and the percussion charges and it is clear that the band mean business. In terms of sound, there is actually a little bit of the Pixies and a sort of Grunge tone; a slight reworking of their Britrock/Alternative sound. When Skin comes to the microphone, she talks about someone in her life that, perhaps, is causing a bit of trouble. She asks them to step into her life; a life where they hold nothing but fire. It seems like the heroine has fire and rage in her heart and something has caused a bit of a rift. Her face is unfazed and there is no blame on Skin’s shoulders but there is still a sense of aggression and upset inside of her. It is interesting unpicking the words and trying to decode the background to the song. There is a sense of desperation biting and it appears this love is struggling. Whether it is based on personal experiences or comes from a slight sense of detachment, one cannot deny the conviction in Skin’s voice. She is presenting all these troubled visions and emotions and it looks like she is going through something quite rough right now. The chorus refers to this person and what they are doing for love. It seems like the two are on different pages and have different interpretations of what love is. There is a lack of trust and breakdown in communications. As the song progresses, Skin talks about someone trying to see the world from different sides; see things from his and her perspective. It got me wondering whether Skunk Anansie are talking less about a personal relationship and more about something wider. The band have always had a political mind and been conscious of the world around me – it got me thinking whether What You Do for Love is more an observation of the world right now and how change needs to happen.

The lyrics, to start, sort of steer you towards something personal and isolated; a sort of tension in a relationship that is threatening to bubble to the surface. As things move on, I sort of feel like something bigger is in focus. Maybe Skin is talking about love in general and how we all need to be more cooperative and sensitive. Maybe she is referring to the anger out in the world and how people in power have the chance to alter the world for good – and they are doing things to serve themselves and not the people. Everyone will have their own interpretations regarding the lyrical meaning but, to me, there is a mix of personal struggle and a call for action. It seems like the heroine is facing a bit of a challenging relationship and there are clichés flying all over the place. Rather than take time away and cool things down, she is asking for communication and wants things to be different. The band is still pretty impressive after all of these years and, whilst that sounds a bit harsh, bands that have been playing for as long as Skunk Anansie often soften and change their sound. It is a relief to hear plenty of force and meat in the bones of Skunk Anansie. This bodes well for the future and, if they have more material coming, I wonder whether it will sound similar to What You Do for Love. The chorus has a great heat and catchiness and the band are tight and focused throughout. I love how Skin’s voice has got a little huskier through the years and she sounds incredible. The driving force behind the band, she puts so much life and passion into the performance. The more you listen to What You Do for Love, the more you uncover. My interpretation changed from the first listen to the second and my perceptions changed. I shall end the review there but I would urge people to check out the new Skunk Anansie track. Those who are expecting something like Hedonism (Just Because You Feel Good) might be disappointed but, in truth, the band has not altered that radically. At a time when we do need a bit of anger in music, it is pleasing to see Skunk Anansie have not reined things in and have gone all acoustic! The band are touring and gathering great reviews and I do hope there is more material coming from them in time. After twenty-five years on the scene, the band are still going strong and have that closeness that comes through in the music.

Skunk Anansie are in Europe at the moment and, with fans across the continent flocking to see them, it seems like there is so much passion and love available for the band. They have so many loyal supporters but fresh faces are discovering their music and are keen to see the band in the flesh. I know that there are a few more dates on the tour and you can keep updated if you head to Skunk Anansie’s social media pages. It seems like, from the photos and tweets, the band are having a great time and they are vibing off the crowds. The band still sounds tight and potent and it makes me wonder where they head from here. They are celebrating twenty-five years together and there are a lot of fans who are seeing them because of their past material. It is evident there is a lot of affection within the band and I have been wondering whether more studio albums will arrive. I mentioned earlier how there are few bands like Skunk Anansie and the band are very much a source of influence for many. They were a huge part of my teenage years and it was a revelation hearing their music for the first time. Their 1995 debut was an awakening to me and I was hooked by their incredible songs; they dug into the skin and stayed in the head. Naturally, the music scene has evolved and changed a lot since they were first around but I still think there is a general absence of bands who sound like Skunk Anansie. We do have Post-Punk bands and some great Pop-Punk acts but what about the sort of sound Skunk Anansie put out into the world? Maybe the band are true originals and it is never a good idea to speculate.

I have spoken a lot about the band but, as a role model, Skin is still hugely important. Apart from commenting on Stormzy’s tweet and bringing race at musical festivals to the fore, she is this incredibly strong and compelling lead that has inspired so many artists. I should leave things there and let you get about your day but, if you can, check out What You Do for Love and follow Skunk Anansie closely. I know the band are busy with touring at the moment but, when they are off the road, that will give them chance to plot their next move and decide what they want to do. Many will want another album but, actually, re-releasing some of their big albums on vinyl might be a good idea. It is definitely a fertile time for Skunk Anansie and I wish them all the very best. They are a terrific band who, twenty-five years after they came onto the scene, are still exciting and utterly wonderful. If you can see them perform live then do so but, as there is new material out, have a listen but also check back on their older material. It makes for terrific listening and will definitely open your eyes. I shall leave it there but, as I have shown in this review, Skunk Anansie are a very special musical force. They have been going for twenty-five years now and, let’s hope they will keep powering on…

FOR many more years yet.

___________

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FEATURE: Vinyl Corner: Stevie Wonder – Songs in the Key of Life

FEATURE:

 

 

Vinyl Corner

Stevie Wonder – Songs in the Key of Life

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AS the legendary Stevie Wonder is...

 IN THIS PHOTO: Stevie Wonder in 1995/PHOTO CREDIT: Jeff Christensen/Reuters

exciting the crowds at Hyde Park right now, it seemed only fair to bring one of his albums into Vinyl Corner. I have already covered Innervisions so, when we think of the best Stevie Wonder album, is Songs in the Key of Life far from our minds?! (Make sure you buy it on vinyl). Wonder released Fulfillingness' First Finale in 1974 and, in this classic period, he was simply unstoppable. By the time 1976’s Songs in the Key of Life was released (on 28th September), Stevie Wonder was one of the most revered artists in R&B. He was scoring these chart successes and winning critical applause all around the world. Actually, by the time 1975 came to an end, Wonder was actually considering working with disadvantaged children in Africa and quitting music. Maybe there was a sense of expectation and weight around him…that it was getting a bit too much or, after such a busy creative time, it would provide a perfect contrast. Instead of emigrating to Africa for a bit, Wonder signed with Motown and, by 1976, he had created a signature album; a work that was instantly loved and respected. Over one-hundred-and-thirty people worked on Songs in the Key of Life and the sheer depth of the material is staggering. Wonder has, in interviews after the album’s released, claimed the period around Songs in the Key of Life was especially happy and he was in a very good place.

One can hear that freedom and inventive spirit running right through Songs in the Key of Life. At the time, the album was a big success but it has since gone on to inspire legions of artists. Everyone from Elton John, Michael Jackson and Mariah Carey have name-checked the album and have cited it as an influence. Not only has the album’s power and depth moved artists in terms of their own material; tracks from Songs in the Key of Life have been sampled and appropriated by other acts. Pastime Paradise was adapted by Coolio for Gangster’s Paradise; Will Smith used I Wish as the base for the hit, Wild Wild West, and (the album) continues to impact and resonate. Upon its release, sales exceeded expectations and Songs in the Key of Life became a blockbuster. It was certified diamond in the U.S. alone and was the biggest-selling album of 1977 behind Fleetwood Mac’s Rumours. It was not a shock that Songs in the Key of Life was a success. Think about some of the reviews that have arrived since 1976; the effusive words that have been paid to this masterpiece. I will borrow the words of two much-trusted sources on this blog: AllMusic and Pitchfork. The former, in their review, discuss the balance of love songs and social commentary:

“Though they didn't necessarily appear in order, Songs in the Key of Life contains nearly a full album on love and relationships, along with another full album on issues social and spiritual. Fans of the love album Talking Book can marvel that he sets the bar even higher here, with brilliant material like the tenderly cathartic and gloriously redemptive "Joy Inside My Tears," the two-part, smooth-and-rough "Ordinary Pain," the bitterly ironic "All Day Sucker," or another classic heartbreaker, "Summer Soft."

Those inclined toward Stevie Wonder the social-issues artist had quite a few songs to focus on as well: "Black Man" was a Bicentennial school lesson on remembering the vastly different people who helped build America; "Pastime Paradise" examined the plight of those who live in the past and have little hope for the future; "Village Ghetto Land" brought listeners to a nightmare of urban wasteland; and "Saturn" found Steviequestioning his kinship with the rest of humanity and amusingly imagining paradise as a residency on a distant planet. If all this sounds overwhelming, it is; Stevie Wonder had talent to spare during the mid-'70s, and instead of letting the reserve trickle out during the rest of the decade, he let it all go with one massive burst. (His only subsequent record of the '70s was the similarly gargantuan but largely instrumental soundtrack Journey Through the Secret Life of Plants.)”.

Pitchfork talked about Songs in the Key of Life’s success and how some objected to the sheer size and ambition of the record – and how the magnitude and cohesiveness of the album won big sales and awards:

“Almost everyone understood the magnitude of Wonder’s achievement, but there were some objections, mostly having to do with the length and sprawl of the record. “[I]t has no focus or coherence,” wrote Vince Aletti in a wildly mixed but mostly favorable review in Rolling Stone. “The eclecticism is rich and welcome, but the overall effect is haphazard, turning what might have been a stunning, exotic feast into a hastily organized potluck supper.”

But to complain about the excess was to miss the point—any great double-album (The White Album, Exile on Main Street) could easily be edited into something tighter and more consistent, but the all-encompassing aspiration is the whole idea, the desire to contain multitudes and to cover as much ground as possible during a revved-up creative groove. Sometimes, more is more.

Certainly, the public understood. Songs in the Key of Life entered the album charts at No. 1, only the third record to hit that spot straight out of the gate (after Elton John’s two previous releases). It then stayed there for the rest of the year; to understand just how ubiquitous the music of the mid-’70s could be, consider that it knocked Frampton Comes Alive! out of the No. 1 slot, and was finally bested in January of 1977 by Hotel California. Inevitably, Wonder won his third straight Album of the Year award at the Grammys (he missed the ceremony because he was visiting Nigeria at the time)”.

There are countless highlights on Songs in the Key of Life but, to me, Pastime Paradise, As and Another Star are the finest tracks. To be honest, there is an embarrassment of riches and everybody is justified to argue with me. If the album sounds radical and truly breathtaking now, Songs in the Key of Life transformed R&B back in 1976 – as this article explores:

“Broadening the genre: The record was influential because it completely blew apart the confines of R&B. It features a tremendous amount of experimentation that dig into striking new sonic and lyrical territory. The meter-defying "Contusion" is essentially a jazz fusion standard. "Village Ghetto Land" is a slice of Baroque classical that presents an uncomfortably visceral exploration of ghetto life — "Families buying dog food now / Starvation roams the streets / Babies die before they're born / Infected by the grief." And "Black Man" is essentially a master class in race relations and alternative history set to surging funk.

It was a near miracle, and Wonder did it almost entirely on his own. Wonder wrote dedications and thank yous to more than 150 people, but he alone wrote, produced, arranged and composed pretty much everything on the album himself. That idea of the R&B auteur has left a significant legacy in modern music — you can see it clearly in artists like Prince and D'Angelo”.

It is obvious Wonder was on a mission in 1976. Buoyed by the success of previous albums, Songs in the Key of Life shattered predictions and any notions of what Wonder was capable of. Not only was his eighteenth studio album a revelation in terms of quality and scope but, in composition terms, it was a chance to broaden his range. Here, as Rolling Stone write, Wonder was definitely aiming high:

“For Wonder, the banner was a personal dare to expand his compositional range. “I challenged myself [to write] as many different things as I could, to cover as many topics as I could, in dealing with the title and representing what it was about,” he says in Classic Albums. “The title would give me a challenge, but equally as important as a challenge it would give me an opportunity to express my feelings as a songwriter and as an artist.”

It was a challenge he met head on, working to the point of obsession. Nonstop sessions stretched across two-and-a-half years, two coasts, and four studios: Crystal Sound in Hollywood, New York City’s Hit Factory, and the Record Plant outposts in Los Angeles and Sausalito. More often than not, he could be found in one of those spaces, sometimes for 48 hours at a time, chasing his muse with a rotating crew of engineers and support musicians. Over 130 people were involved in the recording, including Herbie Hancock, George Benson, “Sneaky Pete” Kleinow and Minnie Riperton. “If my flow is goin’, I keep on until I peak” became Wonder’s mantra”.

 PHOTO CREDIT: Getty Images

In terms of the songs and how they make you feel…are there any other albums that contain the same powers, scenes and effects?! It is amazing experience listening to Songs in the Key of Life now because the songs sound so fresh and relevant. I love the fact that he is playing in Hyde Park now and many people will get to hear moments from Songs in the Key of Life for the very first time – almost forty-three years after its release! It is hard to believe that any album would endure for so many years. Maybe that is me being sceptical in a digital age but, when one mentions Stevie Wonder, naturally people will talk about Songs in the Key of Life. Different people have their own reasons for adoring the album. I love the sheer width of the material and the fact there is so much happening! I have already noted how Wonder’s magnum opus affected musicians after the fact and, in this article from The Daily Beast one can hear Stevie Wonder impact modern icons and true legends:

“You can hear Stevie’s legacy throughout music today. Pharrell’s Stevie-isms come through all the time, from his approach to drumming to his melodies. Kanye’s early soul-driven productions owe a lot to Stevie (the bass on the intro to Common’s Be album) and ‘Ye himself admitted in 2005 that Stevie was his barometer for greatness: “I'm not trying to compete with what’s out there now. I’m really trying to compete with Innervisions and Songs in the Key of Life.”

Even Paul McCartney hailed Stevie’s “genius” after enlisting him for a song on his 2012 album Kisses on the Bottom, 30 years after the pair created No. 1 hit “Ebony and Ivory”: “Stevie came along to the studio in L.A. and he listened to the track for about 10 minutes and he totally got it. He just went to the mic and within 20 minutes had nailed this dynamite solo. When you listen you just think, ‘How do you come up with that?’ But it’s because he is a genius, that’s why”.

Stevie Wonder’s most-recent studio album is 2005’s A Time to Love and, one hopes, there will be more albums from him. There was this golden period from Stevie Wonder that, to many, sort of ended after Songs in the Key of Life. Here, The Quietus explain how material post-Songs in the Key of Life was not quite in the same league:

“Still, this was 1976, this was Stevie Wonder, this was Songs In The Key Of Life, and there was no reason to think he would only step up to even higher ground from here. And yet . . . that was pretty much it. Next up, two years later, was the largely instrumental album Secret Life Of The Plants, which made a good pitch for the affections of Prince Charles but otherwise baffled critics. 

1980 saw a partial return to form with Hotter Than July, and the bountiful, bouncing ‘Master Blaster’, which optimistically heralded a bright future to come for newly free Zimbabwe. But thereafter? He attained even greater commercial success in the 1980s but on the back of more sporadic and distinctly weaker material; ‘Ebony And Ivory’, his facepalm duet with Paul McCartney which marked the decline of two towering artists into granny-friendly balladry long before their time and ‘I Just Called To Say I Love You’ are but two examples of how he’d cooled from black hot to tepid. ‘Happy Birthday’, meanwhile, calling for a National Holiday in honour of Martin Luther King. It’s as if Stevie Wonder himself had passed from innovator to national institution, answerable to nobody, retired from the responsibility of making decent records. Songs In The Key Of Life would turn out to be his last major stand”.

One can argue, perhaps, Stevie Wonder peaked in 1976 - but Songs in the Key of Life was not the last remarkable album he put out. Many switch between Innversions (1973) and Songs in the Key of Life as his finest moment. To me, the sheer beauty, intensity and ambition of Songs in the Key of Life wins the day! You can put the album on any day with any weather behind you and you are instantly transformed and immersed. It is a hugely powerful creation and, decades after its release, the songs keep on revealing fresh secrets and qualities. That is the mark of a genius album and, if you can get it on vinyl and spend some time with it, then I am sure you will agree. The staggering Stevie Wonder is in London right now and I know those who are watching him tonight will take away memories they will never forget! He is this timeless hero whose music has touched and enriched…

SO many lives.

FEATURE: Peace, Beats and Love: Saluting the Incredible Ringo Starr at Seventy-Nine

FEATURE:

 

 

Peace, Beats and Love

IN THIS PHOTO: Ringo Starr in the 1960s/PHOTO CREDIT: Getty Images 

Saluting the Incredible Ringo Starr at Seventy-Nine

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IT is hard to know where to start when it...

 PHOTO CREDIT: Getty Images

comes to Ringo Starr! The recently-knighted icon turns seventy-nine tomorrow and, ahead of his birthday, it has made me think about all he has given to music. On a purely personal level, there are few out there as cool and inspiring as Starr. One only needs to look at his Twitter and Instagram feeds to realise he is one of the nicest and coolest people around. From the 1960s, we have opened our hearts to a man who promulgates peace and love. The positivity he sends out into the world is infectious and you can always rely on him to brighten your day and, of course, put out those peace-loving vibes. As a member of The Beatles, Starr was part of the Summer of Love back in 1967 and loved through a time where there was this spirit and harmony in the air – set against political turmoil and disconnection. Back then, in the U.S., the people came together and, here in the U.K., The Beatles very much took that notion to heart. There was this feeling that, through their music, they were bringing people together and sending out these incredible messages. I especially love The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band because I can sense a certain harmony and magic. The psychedelic colours and iconic album cover, together with what was in the air in 1967 is absolutely magical. When one thinks of The Beatles, you have to consider Ringo Starr and how essential he was to their success…

We all talk about John Lennon and Paul McCartney because they wrote most of the hits and were at the front. George Harrison’s guitar work and incredible talent was a key ingredient and he wrote two of the biggest Beatles songs – Something and Here Comes the Sun (both from 1969’s Abbey Road). In terms of Starr’s songwriting contributions, well, I have always had a soft spot for them. Many claim Starr’s Beatles songs are a bit silly and, when you listen to the likes of Octopus’s Garden, there is a definite whimsy and originality. I love Don’t Pass Me By from 1968’s The Beatles but it is the Starr-sung songs that really strike me. Consider what he brings to The Beatles’ closing track, Good Night, and what a wonderful vocal performance it is. Track back to The Beatles’ debut album, Please Please Me, and a song like Boys – Starr was, in my mind, a stronger singer than George Harrison at that time. Yellow Submarine is a pretty silly song, to be fair, but it sounds utterly irresistible when you have Ringo Starr singing it! He turns the song into something almost transcendent – that might be pushing it but his voice is perfect for the song. Consider, perhaps, his greatest vocal contribution to The Beatles: Sgt. Pepper’s Lonely Hearts Club Band’s With a Little Help from My Friends. I have been thinking a lot about The Beatles. In a few days (on 10th July), A Hard Day’s Night turns fifty-five: it is one of the best albums from The Beatles and a key turning point for them.

Also, on this day in 1957, a young Paul McCartney met a slightly older John Lennon at the Woolton Village Fete and, as they say, the rest is history! One can talk about some pretty incredible Ringo Starr vocals – What Goes On (Rubber Soul), Act Naturally (Help!) and I Wanna Be Your Man (With The Beatles) among them – but it is his drumming that has inspired the masses and helped score some of the greatest songs ever written. Let’s get one thing right straight off of the bat: Ringo Starr is one of the greatest drummers there has ever been. I will end with a collection of his best performances but you only need listen to songs like Rain and Ticket to Ride to realise what a player Starr was – and remains to this very day. Watch videos of him performing these classic tracks and he looks positively relaxed at the kit; giving songs these epic chops that other drummers would struggle to match. I guess the inter-band ribbing (I am not sure which Beatle said Ringo was not the best drummer in the world; he wasn’t even the best drummer in The Beatles) but we all know how good Starr is. Some of the earlier tracks (1963-1964), maybe, was a case of him finding his feet and style but he was already cemented and realised by 1965’s Rubber Soul – in many ways, it is a drumming album and it is Starr’s passion that defines the songs.

Right from the rush and explosion of Drive My Car to the powerful performance on Think for Yourself to the excellent beats of If I Needed Someone…Starr’s unique D.N.A. is all over the album! One can look at some of the early songs and see Starr was adding so much to the music back then. Would She Loves You and I Feel Fine be the same in another drummer’s hands?! I want to bring in article from Drum Magazine that supports the case that Ringo Starr is one of the best drummers ever. They started by defining Starr’s technique and style:

“This fact cannot be overstated, as Starr has taken some hits over the years from fans and even fellow drummers who make meritless claims that he wasn’t so great; that he “played for the song” and nothing more. Part of the reason for this notion is because what Starr did was so deceptively simple. It didn’t sound difficult—it wasn’t exhaustive or athletic enough—so it couldn’t have been hard. But what he achieved was more seamless and meaningful than mechanical flash: He played the perfect part at the perfect time.

Beyond that, there’s the inescapable matter of sheer style, and Starr radiated wondrously idiosyncratic flair. Whether he was tossing his shaggy fringe from side to side behind the drum kit, crooning forlornly on tracks like “Yellow Submarine,” or tossing off random malapropisms like “it’s been a hard day’s night,” “tomorrow never knows,” or other weird, head-scratching phrases that magically became catalysts for Beatles songs, he was always—inevitably—“just Ringo.” And The Beatles were the better for it”.

There are four songs that, I feel, are turned from gems to masterpieces by Starr – with Drum Magazine providing the commentary:

“For those who disparage Starr as an unadventurous drummer, “Rain” should prove to be an ear-opener. After firing off bracing snare shots, he’s all over the kit by the halfway point of the first verse, and he stays that way through the entire song, free-forming fills and never repeating a phrase. The Beatles cut five takes of the rhythm track, recording them at a fast tempo but then slowing down the tape, which resulted in lower tones and a more disorienting drum sound.

Rather than a standard-issue guitar solo, there’s a break at 2:24 during which McCartney performs a booming, squiggly run. Starr locks in with him, matching every note on the snare before taking off wildly into the song’s psychedelic coda, replete with Lennon’s drug-induced backward chants. Summing up his own work on the track, Starr is anything but humble, at one point calling it “the best out of all the records I’ve ever made.”

“Tomorrow Never Knows” is about as radical as a pop song can be. It is primarily the work of Lennon, who composed the lyrics after reading Timothy Leary’s Psychedelic Experience: A Manual Based On The Tibetan Book Of The Dead. And, oh yes, he was consuming a whole lot of LSD during this period. There are tape loops galore—seagull sounds, an orchestra droning on a B-flat chord, a finger rubbing the rim of a wine glass—along with backward guitar solos and other bits of aural experimentation. Underneath Lennon’s almost unrecognizable sneer (altered by a Leslie speaker and artificial double-tracking) is a pounding, hypnotic, and utterly sensational drum performance by Starr. Playing on slackened tom heads, his minimalist pattern of eighth-notes on the crash (with a subtle variation on his snare-and-tom work from “Ticket To Ride”) barely waivers. Paired with McCartney’s equally repetitive bass line, it’s the perfect underpinning for this daring musical free-for-all.

The resulting single (Strawberry Fields Forever) features a cavalcade of musical riches—brass and cellos, backward cymbals, swarmandal (an Indian zither), pitch-shifting—and Starr matches the moods and dynamics with the precision of an orchestral percussionist. He’s a long way from being that basher at the Cavern as he glides thoughtfully and tastefully on a snare-and-bass-drum backbeat through the song’s first verses, his rolling tom fills foreshadowing the same masterful approach he would use two years later on Harrison’s “Something.”

With each new verse, he opens the kit up more, laying down a furious sixteenth-note groove on the floor tom while increasing the intensity of his fills. By the final verse, taken from the “harder” second take, he’s bearing down like he’s in a drum line. After the innovative fade-out/fade-in fake, Starr is in full freak-out mode, performing some of his most flamboyant and sophisticated licks before the whole thing ebbs away with Lennon’s infamous “cranberry sauce” line, which many listeners thought was “I bury Paul,” one more element of the “Paul is dead” hoax.

The penultimate track on Abbey Road—and the last song recorded collectively by all four members—gave us something we’d never heard before: an honest-to-goodness Ringo Starr drum solo. “The End” gives us something else too: a chance to hear the other three Beatles trade guitar solos. It features a wicked display of the other three Beatles’ individualistic six-string chops in a blistering section of hard-rock glory; the three go at it with a series of two-bar blasts. (For those keeping score at home, it’s McCartney, Harrison, and Lennon, in that order.)

Starr famously hated drum solos—he’d always preferred to function as a crafty accompanist—but he was swept up in the spirit of the band to end their career on this extended instrumental spree. In truth, Starr’s section didn’t start out as a true solo; he originally played to guitar and tambourine accompaniment, both of which were muted in the final mix.

He begins with a forceful eighth-note pattern on the bass drum and keeps it going while hitting a dramatic series of tom fills, alternating his sticking approach (left to right when working his way down, right to left when moving up) before wailing on the floor tom. With his drums now wide in the mix, he opens the door for the other three Beatles to rush in like gangbusters for their fiery axe gunfight”.

Before wrapping things up, I want to bring in an article from The Guardian from back in 2017 that, again, explained why Starr is such a great drummer – and why so many people (who think he is not) are wrong:

“Most drummers recognise this. “Define ‘best drummer in the world’,” Dave Grohl said in a tribute video for Starr’s Rock & Roll Hall of Fame presentation. “Is it someone that’s technically proficient? Or is it someone that sits in the song with their own feel? Ringo was the king of feel.”

What this means is that many of Ringo’s best performances go unnoticed. These are beats designed to enhance the song rather than show off the drummer’s abilities. Take She Loves You, the song that kicked off Beatlemania. Ringo’s brief introductory tom roll is the shot of adrenaline that gets the heart of the song thumping; it is teen mania in sound, and one of the most important drum rolls in recorded music history.

Some people consider Ringo to be a terrible drummer because he doesn’t play solos. But who, apart from other drummers, really enjoys a solo? Ringo knew this and for years resisted all attempts to get him to play them, eventually giving in for the 15-second break on Abbey Road’s The End. It’s not flashy or difficult, but it has an understated funky charm and when it turned up on Beastie Boys’ The Sounds of Science 20 years later, it was hard to resist a smile.

In fact The Sounds of Science, which also borrows Ringo’s strident drum beat from Sgt Pepper’s Lonely Heart’s Club Band (Reprise), shows just how funky Ringo’s drums could be when recontextualised. One

At 77, being the butt of drumming jokes is certainly not going to faze the famously phlegmatic Ringo Starr. But underestimate him at your peril. Because if you don’t get Ringo Starr, then you’re only getting three quarters of the Beatles – and that’s no laughing matter”.

It seems that Starr has had to battle off these uneducated ears and tongues for most of his career. A man who is so laidback and love-focused does not let that get to him because he and everyone else knows that the drumming beats he puts down are insane – and have inspired countless other artists. There are articles out at the moment that give you some cool facts and, as he turns seventy nine, there are new interviews about. I want to quote from one because, right now, I do not think there is anyone cooler than Sir Ringo Starr!

 PHOTO CREDIT: Getty Images

“How do you stay in such great shape?

I get up in the morning and I meditate. I go to the gym and I have a trainer, and I work out myself too, when I’m on the road. I’m a vegetarian. When we’re on tour, to get out of the hotel, I usually go to the local organic shop just to see what they’ve got. But I’m only a vegetarian, not a vegan. I eat goat cheese. A vegan is very hard, and they eat a lot of sugar. I’m careful about sugar.

You also have a sustained dedication to photography. Another Day in the Life is your third book of photos. What attracts you to photography?

There are only seven photographs of me taken from birth to 18 or 19. We never had a camera as a family. So when I got a camera, I just loved it! And I got better cameras as the Beatles went forward—eight-millimeter cameras, a lot of them.

In the same way that the Let It Be film was seen as a sad end to the Beatles, many originally saw 1968’s White Album [officially titled The Beatles] as a chronicle of a band coming apart. Was that accurate?

We were not falling apart at all until we split. We played together right up until that. I love the White Album. I mean, Pepper [Sgt. Pepper’s Lonely Hearts Club Band] was great, but there was a lot of sitting around. We were like studio guys. This time, we were back to being a band. People say, “What’s your favorite song on there?” I love “Yer Blues.” We’re in a six-foot room—amps, drums, vocal mics. No separation. It was like, “Yeah!”

What’s your favorite Beatles song of all time?

There are too many. I like to say “Rain.”

What’s your favorite Beatles song that was sung by you?

I think “With a Little Help From My Friends.” It’s given me a whole career. I’m thankful many a time for that”.

I have quoted from articles and interviews and, to be fair, that is only the tip of Ringo Starr. He is a legendary bloke and someone who, nearly every day, is spreading joy and love to the world. He looks ridiculously good – how the hell can he be seventy-nine and look so youthful?! – and there is no stopping him! I have not really covered his solo career and you can check out his work here. There is also a cool Starr-compiled playlist of peace and love that is worth checking out but, if you want an ultimate Ringo Starr solo album then I would recommend 1973’s Ringo. There will be lots of love for Starr tomorrow and, as we consider what makes him such an icon, we have to consider the drumming and singing; his tireless philosophy of peace and the way he keeps on making the world a better place. To me, Starr was the key ingredient regarding The Beatles’ compositions; the terrific beat and rush that made their early work shine and, later on, a blossoming and evolving player who was turning seemingly simple songs into these nuanced, golden cuts. There is nobody like Ringo Starr and, at seventy-nine, he is in a league of his own! If you want to discover more about Starr then you can look here but, really, it is the music that does all the talking. A drumming genius and all-round superstar, let’s hope we have many more years…

OF Ringo magic!

FEATURE: Born This Way: The Pride Playlist

FEATURE:

 

 

Born This Way

IN THIS PHOTO: People united for the 2019 World Pride NYC and Stonewall 50th LGBTQ Pride parade in New York/PHOTO CREDIT: Reuters 

The Pride Playlist

_________

I put together a Pride in London playlist last year...

 IN THIS PHOTO: Scenes from last year’s London Pride/PHOTO CREDIT: Getty Images for Pride In London

and brought together some classic cuts. Those across the L.G.B.T.Q.I.A. spectrum are united in London and it is a great day out there. I have been travelling around London and there is a lot of happiness, colour and togetherness. There is a lot more to come today and, if you are in London, you will see the crowds together; everyone with banners and the people in step. It is rare that we see this sort of mass descend on London for such positive reasons. It is, as this report from The Evening Standard shows, a year when we celebrate but also mark fifty years since the Stonewall uprising

“As many as 1.5 million people will descend on London today for what is being hailed as the UK’s biggest and most diverse Pride parade yet.

Those taking part will celebrate 50 years since the Stonewall uprising in New York, a moment which changed the face of the gay rights movement around the world.

Parade groups will honour five decades of activism, protests and victories, and those behind this year's march have said it is an opportunity for people to stand up against bigotry and hatred in all its forms.

From midday on Saturday some 600 groups, a 25 per cent increase on last year, will march through the capital's streets for the annual burst of colour, music and dance.

PHOTO CREDIT: Getty Images 

This year's parade is aiming to champion diversity, with the introduction of a new World Area at Golden Square in Soho, in a bid to increase the visibility of black, Asian and minority ethnic (Bame) LGBT+ people.

The event also has improved accessibility this year, including viewing platforms for the Trafalgar Square stage, sign language interpreters and captioning for all performances across two large screens, and accessible, gender-neutral toilets.

It is an important year for sure and it makes me wonder whether we have progressed. In terms of music, there are some fantastic L.G.B.T.Q.I.A. artists but one feels that their path to mainstream is not as smooth as it should be. There is a lot to unpack and discuss in the music industry regarding equality and visibility but, with this Pride celebration being so huge and timely, I do hope change and progression comes into music. Today is all about togetherness and pride, and so, I am focused on some great Pride anthems. From the classics through to those outsider hits, here are some great tracks that will soundtrack…

 PHOTO CREDIT: Getty Images

UNLIKE anything else.

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

FEATURE:

 

 

Sisters in Arms

IN THIS PHOTO: Kara Marni 

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

__________

TODAY is Pride in London…

 IN THIS PHOTO: Gabriella Cilmi

and I will put together a Pride playlist very soon. Right now, I want to collate some of the best female-led songs of the last week (a few are a bit older). In this selection are songs from various different corners of the musical landscape. It is another busy, exciting and varied week for music and, as you can see from the selection below, these songs are perfect for the warm weather we are having. The songs will get you in the mood and bring the energy. Have a listen at the wonderful artists below and, on this day of unity, awareness and pride, here are some tracks that will…

IN THIS PHOTO: Brooke Candy

BRING a smile to your face.

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

____________

Jade Monet – Pineapple

Jess Thristan – The Old Man

Emma McGrath - Other Side

IN THIS PHOTO: Maliibu Miitch

Brooke Candy (ft. Charli XCX and Maliibu Miitch) - XXXTC

Lily Moore – Over You

BABYMETAL – Starlight

Kara Marni – Opposite

Jesca Hoop – Footfall to the Path

Blithe – Masochistic

Talulah Ruby – I Don’t Feel Like Me

Lily Mckenzie – Emotions

Au/Ra – Dance in the Dark

Ward Thomas – Breathe In

IN THIS PHOTO: Bree Runway

Bree Runway (ft. Brooke Candy) – Big Racks

Heather Findlay – Southern Shores 

laye – sicker 

PHOTO CREDIT: Pierre Toussaint

Olympia – First You Leave

Empress – Lovely I Am

Skunk Anansie – What You Do for Love

Vera Blue – The Way That You Love Me

Gabriella Cilmi – Ruins

PHOTO CREDIT: @meg.lavender

Tiiva – Make Me Pure

PHOTO CREDIT: Jordyn Taylor-Robbins

Sarah Jickling and Her Good Bad Luck - Saint

IN THIS PHOTO: Sarah de Warren

Sarah de Warren, Rodg - Fading

PHOTO CREDIT: Patrick Walker

Atelier Blue – Empty Lungs

CAGGIE – I Wish You Knew

Magdalena Bay - Mine

Empara Mi – Ditch

SIA BABEZ – Hit My Line

FEATURE: The July Playlist: Vol. 1: When the Time Is Right, I Guess…

FEATURE:

 

The July Playlist

IN THIS PHOTO: Sam Fender 

Vol. 1: When the Time Is Right, I Guess…

___________

THIS is, again, not one of those weeks stuffed…

 IN THIS PHOTO: Jesca Hoop/PHOTO CREDIT: Laura Guy

with huge releases and artists but, looking down the list, there are plenty of terrific songs to enjoy. It is a good weekend, what with Pride in London, and there is a lot of energy in the air. The weather is great and, for that reason, embrace the best new music around. We have tracks from Sam Fender, Jesca Hoop and The Futureheads in the pack. It is a pretty good selection and I think you’ll find something in there to love. New music goes through cycles and there is no telling what one week will provide – and how much different it is the next week! Whether you are in town and on the go or settling down for a quiet weekend, take these songs with you. Whether you want something urgent and raw or something a bit more chilled and collected, I think you will find what you need…

RIGHT here.  

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

__________

Sam Fender – Will We Talk?

Bat for Lashes – Kids in the Dark

Ty Segall – Radio

Of Monsters and Men – Alligator

Jesca Hoop – 01 Tear

Michael Kiwanuka, Tom Misch – Money

Ride – Repetition

Mahalia (ft. Burna Boy) - Simmer  

PHOTO CREDIT: Keith Klenowski

Daughter – Poke (from Tiny Changes)

The Futureheads – Good Night Out

Redondo Red - Dancing Dogs

IN THIS PHOTO: Brooke Candy

Brooke Candy, Charli XCX, Maliibu Miitch - XXXTC

Lethal Bizzle – Woah!

Skunk Anansie – What You Do for Love

blink-182 – Happy Days

Olympia - Come Back

Press Club – Thinking About You

PHOTO CREDIT: Peter Lindbergh

ROSALÍA – Milionária

Snow Patrol - Time Won’t Go Slowly

PHOTO CREDIT: Nick Mckk

The Teskey Brothers – So Caught Up

Belle & Sebastian - Sister Buddha

Marshmello – Proud

Emma McGrath – Other Side

Kara Marni – Opposite

Bonobo – Linked

CAGGIE – I Wish You Knew

Ward Thomas – Breathe In

Lighthouse Family – Blue Sky in Your Head

Chrissie Hynde – Que Reste-t-Il De Nos Amours?

Louise – Lead Me On

Gabriella Cilmi – Ruins

TRACK REVIEWS: ROSALÍA - F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero)

TRACK REVIEWS:

 

ROSALÍA

F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero)

9.6/10

The tracks, F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero), are available via:

https://www.youtube.com/watch?v=eQCpjOBJ5UQ

GENRES:

Flamenco-Pop/Art-Pop

ORIGIN:

Barcelona, Spain

RELEASE DATE:

3rd July, 2019

LABEL:

Columbia Records

__________

THIS is a bit of an unusual…

review for me because I am tackling two different songs. To be fair, both are pretty short and they form a sort of concept. ROSALÍA is a fantastic artist who has just dropped a double-video for a project entitled F*cking Money Man. The visuals are accompanied by two songs and, whilst I could not split them up, it does bring me to a few interesting subjects. I want to talk about ROSALÍA in the context of daring artists and female artists who are really starting to strike; the different flavours of Pop and why we should not instantly write the genre off; those fighting for equality and the artists who bravely pioneer; a bit about last weekend’s Glastonbury and why ROSALÍA is a potential headliner – I will end by seeing where the Spanish-born artists might head next. It is actually quite unusual to see a Spanish artist near the mainstream and being talked about a lot. That is no disrespect to Spain and its musical output but I do feel like, maybe, Spain still fosters U.S. and U.K. sounds and there is no quite the same proliferation of artists we have here. Perhaps it is because more traditional Spanish sounds are not as integrated into the mainstream as they should be – perhaps it is something else. I do think we look at nations outside of the U.K. and U.S. and feel they lack the same promise and scope. I recently wrote a review where I expounded the brilliant Australian artists around and I think there are more great artists in Spain that are waiting to come through – the likes of ROSALÍA will act as a guide and inspiration. It is no surprise we are a bit blind to other nations because I think, even in 20019, we are still too reliant on the same sort of music and sources. Maybe we get it into our head that Spanish music is going to be World music: we are not aware of the fact there is Pop, Rock and other genres in the country being represented by some great artists.

I think the industry does need to incorporate some new flavours and tones in order to make it more exciting and promising. I have strayed a little from what I was going to say but, when it comes to ROSALÍA, there is so much to investigate and unpack. She is an artist who, like her boldest peers, is turning heads right now. I do feel like there are so many artists around right now that lack the necessary drive and punch to really settle in the mind. I hear so much generic Pop and lacklustre music; it does start to get boring and you yearn for someone who has that passion and sense of independence. I still feel the mainstream is too generic and the less soulful and meaningful Pop music holds too much power. Consider what those artists offer to the world. A lot of the lyrics on display are pretty formulaic and staid; many of the compositions are plastic and processed and the vocals lack soul and requisite appeal. It is a shame that a more commercial and easy-going Pop vibe is still ruling over everything else. I am seeing some changes come through. The fact that we have artists like ROSALÍA making waves and coming though means, I hope, the scene will break up and diversify very soon. I will mention Glastonbury in a bit but, when watching the coverage from last weekend, it was defined by strong female artists who, before, had not been given the credit they deserve. I loved what Miley Cyrus was doing and Billie Eilish had the crowd spellbound. It was a festival defined by strong and bold women emerging and captivating. I do feel like, in future years, we will see this trend continues and, in terms of the sound of the mainstream, artists like ROSALÍA are ready to shake it up. I am going to bring in a couple of interviews she has given because, when you read the extracts, you get a sense of someone who does not follow guidelines and really wants her music to stand out.

 PHOTO CREDIT: Roger Kisby for Rolling Stone

Just look at her new piece: Is F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero) a suite of songs or a double A-side? Is it a political statement or personal revelation? I do feel like there is much formula and marketing with modern music. Artists are too keen to stick to a pattern and not break from that. Looking at ROSALÍA’s latest tracks and we have someone who is certainly doing her own thing! I think the most interesting and exciting music being made right now is coming from female artists. I confess there are some great male acts doing their thing but when I consider all the best new sounds around, they are emanating from women. Look at what ROSALÍA is doing with Pop music right now. I mentioned Spain and, as ROSALÍA is Catalan-born, it is inevitable that sounds and flavours of her upbringing and home are going to show themselves in the music. That is not to say that there is a cliché vision of Spain in her work. Mixing in Flamenco and other genres, we have this original blend that is both cool and fresh but it has definite heat and intensity. Consider, too, what I was saying about modern Pop and the fact it is quite stale and machine-like. I hear so many songs that sound exactly the same and it seems rather pointless when you consider it. There is nothing wrong with commercial Pop but, if artists are not bringing something new to the table, the mind is going to look elsewhere. ROSALÍA has that blend of her native Spain but there are so many different colours and tones working through her music. What we get is something both daringly strident and accessible. Like Billie Eilish, ROSALÍA is remarkably accomplished and confident for someone so young. There is not this feeling (with ROSALÍA) that she needs to write about love and the same themes to attract attention and get acclaim. Sure, she has experienced heartache but that is not what drives her consciousness. Her new project is about money and the different sides of it; the greed and corruption that come with it and a sense of extravagance.

I do feel like we all get this idea of modern Pop and what it is all about. I have said how we should not dismiss it and associate it with negative impressions. The commercial artists who seem unable to project any personality and talent onto the page are the ones who are keeping this stereotype alive. Listen to ROSALÍA and Billie Eilish; take a listen to Lizzo too. Whilst these artists bring other genres together, they are very much at the forefront and gaining universal acclaim. These artists are talking about serious and less commercial ideas; they are splicing sounds together and delivering incredibly powerful music. Pop has been in a dire state for a few years now and it has been a while since there was this incredibly rich and promising mainstream. I do feel like there is a revival happening. Being led by brilliant artists like ROSALÍA, there is a lot to get optimistic about! What I love about modern Pop is the fact there is variation coming in. There are many reasons to love ROSALÍA’s work but one has to admire the boldness of her sounds and themes. F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero) captures you because it is slinky and cool but there is this cutting edge that keeps the song brash and alert. One can lose themselves in the song and does not need to speak Spanish to appreciate the brilliance of the music. In fact, she is actually singing in Catalan on the songs. How many modern artists do we hear that are singing in Catalan? Definitely, in Spain there are many but do we have this fear that, if a song is in a foreign language, it will not resonate and remain in the mind? I will explain the songs in more details soon but it is clear ROSALÍA is doing things differently and is a step ahead of her peers.

There is a lot to love about ROSALÍA but I especially admire her determination and independence. I want to bring in an interview from THE FADER that sort of underlines what I mean:

“Rosalía doesn’t like not being able to do something — and if anyone has said “no” to her in the last two years, it’s hard to tell. During that time, the 26-year-old has evolved from a budding flamenco vocalist in her native Spain into an international pop star and genre rebel, one who’s collaborated with James Blake, appeared on Kourtney Kardashian’s Instagram, taught Alicia Keys Spanish, and hung out with Dua Lipa at awards shows.

“I understand that a lot of people can’t connect with my music, because it’s a radical proposal and a personal proposal,” Rosalía says of her hybrid of flamenco elements and sparse electronics. “There will be people who can connect with it, and many that can’t. I understand the risk I take in making these decisions with my music.”

It wasn’t until Rosalía was 13 that the arrow of flamenco pierced her. It happened one day when she was hanging out by her school and heard a nearby car blasting a song with melismatic vocal runs and rhythmic palmas hand-clapping. “From the beginning, I knew,” she says, resolute and staring directly into my eyes. “I realized, This is my path.”

Rosalía knew very little about flamenco, a style of music and dance born out of the intermingling of Castilians, Moors, Sephardi Jews, and the Romani community in Southern Spain and codified in 19th-century Andalusia. She didn’t know about the sentimental howls of flamenco’s cante jondo style or its frantic zapateado footwork. But that didn’t matter. “It’s something I felt was important to my journey,” she says”.

There is no denying ROSALÍA is taking a few risks, I guess, in regards the personal aspect of her music and the fact that Catalan features. I feel she is being a bit hard on herself because, the more you listen, the more striking it becomes. Yes, the songs are quite challenging and new but it is quite easy bonding with them and admiring what ROSALÍA is doing.

ROSALÍA is someone who fights for equality and does not want to rest until there is balance in the industry. This year has been defined by female artists and the music they are producing. I think there is still a way to go before there is equality but, in studios and behind the scenes, there is this disparity that needs correcting. I want to bring in another interview where ROSALÍA discussed her start in music and then talked about gender disparity in the industry:

“How did you first get into making music?

Rosalía: Since I was a young girl, I have always felt a strong connection to music, in a natural way, without hesitation. I remember myself as a little girl dancing and singing around the house most of the time. When I was around ten, I decided I would devote myself and my life to music.

Barcelona is an open and multicultural city. It’s brimming with a very special creative energy. If you pay attention, you may be easily inspired by the places and people living there. I met my flamenco singing teacher in this city. He suggested I started a degree in music, and I had the opportunity to study and share eight years of my life with him in this city. El Raval, Poble Nou, or Gràcia have been essential spots where I have developed my music career.

For me, your music is about independence, especially from men. Is that how you see it?

Rosalía: The way I make music reflects the way I think. I’ll never get tired of fighting until I see equal numbers of men and women in a recording session, you know? In the studio, on the stage to companies. I’ll fight until all those women are given the same value as naturally as it is given to men”.

I do feel like 2019 is a year where female artists are speaking out more and looking to change things very quickly. In terms of music, the likes of ROSALÍA are pioneering and asking for improvement in music.

ROSALÍA will act as a role model, not only for women in music right now but for the new generation who are looking around and wonder whether women will be on equal footing with men. I do think men in the industry are not doing enough to make changes and ensure there is balance in studios and in the forefront. Maybe this will change but it is women in music doing more of the heavy lifting compared to the men. I will come to the songs in question in a bit but, before moving along, it is worth tracking back to last weekend’s Glastonbury and the fact ROSALÍA performed a blinding set. You can listen to an example of her Glastonbury set here - and you can see the impression her music had on the audience. She was mixing Catalan with English and her set was a nice balance of the sensuous and the stirring. It was a physical performance but there was this accessibility that provides sunshine, coolness and something very alluring. The songs connected instantly and, in terms of performance, ROSALÍA proves she is fully able to handle the big stages. I do think she is a possible Glastonbury headliner. Some might say she is a bit new and it will not work out so quickly but consider the likes of Stormzy – who headlined the Friday at Glastonbury – and he pulled off a remarkable set. In any case, ROSALÍA is a fantastic proposition and there is a lot to unpack when it comes to F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero). Rather than release a conventional single, there is this pairing of songs that investigations money and greed. From investigating gameshows and that frantic grab for money the poisonous aspect of cash, these songs are very timely and highly-charged. One feels like she is taking a shot at the U.S. and the greed of Donald Trump but ROSALÍA is looking at the wider world and how money rules everything.

From the first notes of Milionària, you are hooked and realise this is a very different artist to what is out there at the moment! ROSALÍA comes to the microphone and there is this instantly sense of authority and coolness. There is this big beat behind her and slinky electronics that gives the song a brilliant shake and rhythm! You are helpless to resist the fire and intoxicating sounds emerging but, it is ROSALÍA’s voice that resonates most. Before the chorus kicks in, ROSALÍA casts herself as this millionaire; someone who is traveling from Mumbai to Malta and, it seems, money is no object. She wants a couple of different Bentleys and there is this aspiration to be rich and not have to worry about things – she cannot have this until she gets a windfall. One might look at the song and feel like it is a young Pop artist yearning for fame and chasing something glamorous but, in reality, this is a look at vacant figures and the wealthy that do not see the struggle around and do not understand the true value of money. We hear plenty of songs where money is idolised and seen as this great thing but one senses ROSALÍA growing weary of those types who post snaps on Instagram and boast about their wealth. There are dollar signs in her mind and, whereas many of us are content with what we have, the heroine wants more and more riches. Every day, it seems, is her birthday and she can have leopards running through her garden; she can buy fine art and go wherever she pleases.

Whereas some artists might write about money in a very cliché and vacant way, there is a lot of nuance in Milionària. The coda of “F*cking money man” makes you wonder whether she means that in a rather casual and boastful way (put a comma after the ‘money’ and it has a more laidback vibe) or whether it is angered and bold – like she sees all this wealth and how it is corrupting people. That idea of chasing cash and having all this stuff you do not need builds very vivid images. Among the list of dreams/acquisitions – a yacht and star in her name; employing a kid to open her Christmas presents – there are so many big prizes and dreams that many people have. You feel that Milionària wags its finger at those who chase something empty and use their money to suit themselves and not change the world. In the song, ROSALÍA casts herself as the spoiled and money-chaser but one can tell that this life is something that she fears and hates. In terms of who the song is aimed at, maybe it is aimed at celebrities and those who so many people hanker after but, to me, it is a look at the world in general and how there is so much greed and wasted wealth. It is a truly fascinating song and one anyone can get behind. The fact the song is sung in Catalan should not put people off because, not only are there translations to the lyrics online, but the sound of ROSALÍA singing in her native song gives the song a romance and quality it would not have were it sung in English.

After Milionària and its talk of big-money spenders and those who chase after needless purchases, Dio$ No$ Libre Del Dinero is a more cautious and fearful song. The former song is about greed and people chasing dollars but, on the accompanying cut, the singer is asking God to free her and the world from the grip of money and how it corrupts people. Not only do we get two different sides to money but the tone is very different between the tracks. The former is a more spirited and fired-up song where Dio$ No$ Libre Del Dinero has more sadness and emotion on its breath. The track is gorgeous and imploring and, whilst it is hard to source English lyrics online, one enjoys the performance and the sheer potency of ROSALÍA’s voice. It is such a mesmeric instrument that gets into the head and provokes images. No$ Libre Del Dinero is ROSALÍA at her peak, I feel. It is a very short song that lasts less than two minutes but it packs so much in. The vocal weave and sound is incredible and you are spellbound by this very graceful and beautiful sound. The lyrics, as I understand, are much more cautious and wary than the vocal would have us believe. ROSALÍA is concerned about money and how it seems to dominate people; how it can corrupt nations and lead people astray. I do feel like Pop music is too beholden to formula and tradition and few artists are breaking away from that.

In the space of two songs, we have two very different stories around money. One can listen to both songs at the same time – both are part of this F*cking Money Man theme/concept. I do love both tracks and feel like they are powerful, incredible moving and memorable works. ROSALÍA shows she is one of the finest and most promising artists in music right now. Even if you not behind the lyrics and following them, the music and vocals will definitely connect. From the sunnier and more rousing spirit of Milionària to calmer and more cautious sound of Dio$ No$ Libre Del Dinero, ROSALÍA covers all the bases. I cannot wait to see where she goes next and whether we will get more releases like this in the future. It is clear that, the more she performs, the more confidence she accrues. It is scary to think how far along she will be this time next year considering the progress she has made in the last couple of years. If you have not listened to ROSALÍA’s previous work then do go back as well and discover so many wonderful, instantly memorable songs that will be in your mind for a long time to come!

I love the fact ROSALÍA can write a song where there are dangerous spiders, dangers and weird gameshow obstacles in the way! So many modern songs are predictable and concentrate on love and relationships. ROSALÍA has presented something a lot busier, more exciting and deeper than all of that. We see money every second of the day on screens and advertising billboards. I do feel like the importance of money is causing a lot of misery and divisions around the world. We all want more money but we look at big celebrities and figures that have a lot and aspire to be just like them. In many aspects, ROSALÍA is sending a message to those who aspire to that sort of life. That desperation to be famous and rich; the money dominates is put in the spotlight. Whether directly attacking politicians and businessmen or taking a shot at money and greed in general, ROSALÍA has created a very impressive feat with F*cking Money Man (Milionària + Dio$ No$ Libre Del Dinero). There is a sense of exasperation and anger in her voice but, this being ROSALÍA, she is trying to change the world and raise awareness. I shall leave things alone soon but I recommend people go and see ROSALÍA is they can. Check out her social media channels and, if she is playing near you, go and catch her! ROSALÍA is a stunning live performer and her songs are amazing. Her 2018 album, el mal querer, was lauded because of its freshness and memorability.

I am not sure whether there are plans for more music soon but make sure you check out what ROSALÍA has produced so far. She is an artist who will go very far and has many years ahead. I am captivated by everything she does and think that, in a few years, she might well headline Glastonbury. ROSALÍA is a role model and an artist that is not following the pack. Her songs are so addictive and powerful that it is hard to turn away and pass them by. Not that you’d want to because, after one listen of a track like Milionària and you want to go back for more. My next review will return to the single song but, as I could not separate Milionària + Dio$ No$ Libre Del Dinero – and they are part of F*cking Money Man -, that is the way things have to be today. The fact ROSALÍA has released two videos and not just been beholden to a traditional single shows that she is always pushing ahead and doing what she feels is right. Check the video(s) and you can see how much the visual nature of music means to ROSALÍA. This is a complete artist and someone who is going to go a very long way. Do not pass her by and, with new cuts out in the world, ROSALÍA is going to be on many…

PEOPLE’S lips.

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Follow ROSALÍA

 PHOTO CREDIT: Berta Pfirsich

Facebook:

https://www.facebook.com/rosalia.vt/

Twitter:

https://twitter.com/rosaliavt

Instagram:

https://www.instagram.com/rosalia.vt/

YouTube:

https://www.youtube.com/channel/UCQt9awGIFZeldFsATZNeJag

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https://open.spotify.com/artist/7ltDVBr6mKbRvohxheJ9h1?si=PBZ_wdfAQb62it5KzA-IsA

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FEATURE: The Misunderstood Child: Kate Bush’s The Dreaming

FEATURE:

 

 

The Misunderstood Child

PHOTO CREDIT: John Carder Bush 

Kate Bush’s The Dreaming

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IT is interesting looking at Kate Bush’s career...

 IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Guido Harari

and how she went through these different, remarkable phases. The Dreaming is an album that split opinion when it was released. Fans who really got what she was doing loved the album – Bush experimenting and taking control of production – but many critics were not a fan of the shifting moods and the sense of the eccentric. To be fair, she hinted in the direction of The Dreaming’s sound on the previous album, Never for Ever. I do feel like 1982 – when The Dreaming was released – was a key year when Bush had been working with other producers and felt, more often than not, a cog rather than the person controlling the machine. 1980’s Never for Ever was a success and contained incredible singles such as Babooshka. It was a bold step from her previous album, Lionheart (1978), and we were seeing this confident and extraordinary artist growing and spreading her wings. One of the reasons The Dreaming gets negative press from some is because of the sheer intensity of the music. Whether it is the rush of Sat in Your Lap, Get Out of My House or the sense of heartache in All the Love – it is an album that consumed a lot of Bush’s time and energy. In 1981 and 1982, Bush was working hard on the album and, with newer technologies such as the Fairlight at her disposal, it gave her music fresh possibility and horizons.

If previous albums were more accessible and straighter, The Dreaming was Bush taking everything in; ranging from songs about aboriginal Australians (The Dreaming), crime capers (There Goes a Tenner) and escapology (Houdini). Taking on production responsibilities, Bush was working all hours and, to be honest, her health and well-being sort of took a beat-seat to the demands of the music. Her diet was not great and she was threatening to burn herself out. One can hear every morsel and ounce of Bush in The Dreaming. Upon its initial release, there was a mixed reception. Some were confused by the experimental tracks and how there was not a cohesive, singular sound. Others struggled to get behind the different sounds and instruments played – The Dreaming was definitely a busy album! Prior to The Dreaming, there was this feeling that Bush was being controlled to an extent; she was not 100% happy with her work or, at the very least, wanted to have a greater say. She wanted a rawer sounds that, whilst it was shaping up in Never for Ever, it was fully realised through The Dreaming. I think The Dreaming is one of Bush’s most exciting, varied and rewarding albums. There is this split between spiritual desires and the quest for love; songs about history and a sense of the classical and a great balance between fun and serious – the track order is perfect as to allow the listener breath when needed. Maybe critics were looking for a hit like Wuthering Heights or Babooshka: The Dreaming does not boast anything like that.

Those who are a bit unsure of The Dreaming highlight how much of a shift there is from Never for Ever in terms of songs and the general tone. EMI were not thrilled The Dreaming took two years to see the light of day (that was considered a long time back then!) but look at artists today and how long they take between albums – and how the resultant release is not nearly as striking and busy as The Dreaming. This review from Pitchfork highlighted how The Dreaming was a turning point for Kate Bush; a stunning work that is much less about commercial sense and more of a truly personal vision:

“The Dreaming was a turning point from Kate Bush, pop star to Kate Bush, artist: a fan favorite for the same reason it was a commercial failure. Part of the Athena myth around Bush is that she arrived to EMI at 16 with a huge archive of songs, and from this quiver came most of the material for the first four albums. The Dreaming was her first album of newly composed work and for it, her first real chance to rethink her songwriting praxis and to produce the songs on her own. Using mainly a Linn drum machine and the Fairlight CMI—an early digital synth she came to master in real time—she cut and pasted layers of timbres and segments of sound rather than recording mixing lines of instruments, a method that would later be commonplace among the producer-musician. At the time, it was still considered odd, especially for a first-time producer, and especially for a young woman prone to fabulous leotards.

IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Steve Rapport Photography 

All this excess is her sound: a strongly held belief that unites all of the The Dreaming. Nearly half of the album is devoted to spiritual quests for knowledge and the strength to quell self-doubt. Frenetic opener “Sat in Your Lap” was the first song written for the album. Inspired by hearing Stevie Wonder live, it serves as meta-commentary of her step back from the banality of pop ascendancy that mocks shortcuts to knowledge. A similar track, “Suspended in Gaffa,” laments falling short of enlightenment through the metaphor of light bondage in black cloth stagehand tape. It is a pretty queer-femme way of thinking through the very prog-rock problem of being a real artist in a commercial theater form, which is probably why it’s a fan favorite”.

The Dreaming was the lead-up and first signs of what Hounds of Love would contain. After The Dreaming’s release, Bush moved to the countryside (and away from London); she took up dance again and changed her diet. She set up her own studio and, in the idyllic surroundings, created this masterpiece that is considered her finest work. There were reservations among those at EMI whether Bush should produce another album. Given the fact The Dreaming was not a huge commercial success and took a while to arrive, there were raised eyebrows – she proved everything wrong when Hounds of Love arrived in 1985.

 IN THIS PHOTO: Kate Bush in 1982/PHOTO CREDIT: Steve Rapport Photography

I think The Dreaming is vastly underrated because it is crammed with texture and sounds. It is a busy album but one that never overwhelms and pushes one away. So many albums fall flat after a few listens but The Dreaming is one that unfurls and reveals new beauty after a few plays. Songs like Houdini are lush and graceful - almost classical and traditional -, whereas Sat in Your Lap and The Dreaming are more frenetic and charged. Bush married the technology and breakthroughs of the early-1980s with something more traditional and sparse. Listen to the real thrill and scares one hears on the album closer, Get Out of My House. This house, as Bush says, contains her mistakes and madness. Bush said The Dreaming was sort of her going a bit mad so, in a way, the closer seems like a perfect distillation of The Dreaming: the madness and intensity demanded but such confidence, talent and originality. Bush could have released something commercial that pleased the label but, instead, we have this very modern-sounding (it still sounds modern today!) record that was the work of an artist pushing boundaries and challenging conventions. Look at other albums released in 1982 – including Michael Jackson’s Thriller and ABC’s The Lexicon of Love – and there was nothing like it around. In terms of Pop, Madonna was emerging and would release her eponymous album the following year. The likes of Duran Duran and Yazoo were in the charts in 1982 so one can understand why critics were a bit taken aback by The Dreaming!

Many had followed Bush closely in 1978 and maybe were not expecting a leap like The Dreaming. Bush won back many with Hounds of Love and, without The Dreaming, Hounds of Love would not have happened. That may sound obvious but I mean Bush was moving away from convention and other producers; she was assuming more responsibilities and, whilst The Dreaming took a lot out of her, you can tell this record meant so much to her. This is the always-curious and ambitious artist letting her imagination run wild. In 2019, can one say we have any albums out that are as daring and bold as The Dreaming!? Sure, there are great albums around but nothing quite as eye-opening and hypnotic as Bush’s fourth. I think The Dreaming is one of those albums that took a while to resonate and win favour; modern critics have been kinder and underlined its importance. Drowned in Sound, back in 2016, had this to say:

“Perhaps the greatest joy of the record, though, comes from immersing yourself in the narratives that Bush presents, and realising how her words and the music have a symbiotic, almost dependent relationship. The Ninth Wave (her conceptual mini-record about a person drifting alone in the sea at night that formed the second side of Hounds Of Love) would later demonstrate that Bush could write a beautiful, focused narrative over the course of song cycle. But the individual tracks on The Dreaming show off some of Bush’s most fascinating short stories, spanning an ambitiously large range of subjects – it’s at times difficult to believe that she suffered from writer’s block.

The Dreaming is therefore tirelessly imaginative, asking the listener to submerge themselves in a wealth of illusory and semi-fictional realms. But it’s also remarkable for what happened behind the scenes as well. Bush had made steps into production before, on the EP On Stage and on Never For Ever, where she was aided by engineer Jon Kelly. Here though, she took the bold step to produce the entirety of the album alone. While she did collaborate to some extent with a few engineers (such as Nick Launay, who had previously worked with Public Image Ltd and Phil Collins), the control that Bush had on the record is plain to hear at every twist and turn. She extensively made use of the Fairlight CMI – one of the earliest workstations with an embedded digital sampling synthesiser – and a number of other state-of-the-art machines when recording.

The Dreaming, by contrast, remains the overlooked jewel in her canon. But while it may be challenging and uncompromising, it’s almost hard to imagine what Kate Bush would be like today if she hadn’t released it. A staggeringly bold step forward for her as a singer, songwriter and producer, The Dreaming was a milestone both for Bush herself and the wider world of music”.

The Dreaming was that wonderful bridge between the promise and bloom of 1980’s Never for Ever and the peak of Hounds of Love in 1985…                                

There is so much to enjoy with The Dreaming and, yes, it can be challenging at times and not every song is a success. The reason I think The Dreaming is underrated is because of the themes Bush addresses and how many sounds she brings to the plate. The Dreaming is so heady and fulsome; there is something for everyone and, to me, this was her most personal album to that point. Life would change noticeably for Bush post-1982 and she did undergo a sort of revival and refresh. Without the intoxicating madness and demands of The Dreaming, maybe we would not have got the Hounds of Love we have – a different-sounding record, perhaps. That time definitely gave Bush a taste of solo producing and it was clear that, from that point, she wanted to produce her own albums. If you are new to Kate Bush – where have you been?! – I would start with albums like Hounds of Love and The Kick Inside (1978) as they are more accessible. The Dreaming definitely needs to be in your thoughts. It is a remarkable work unlike anything else that can sit passion and love alongside the political and the plain insane! Any artist who ends an album with Houdini and Get Out of My House (very different songs that seem like they are from two different artists!) clearly warrants respect and appreciation. Maybe The Dreaming will not win everyone around but I still think it is seen as an odd child; a record that is a bit too scattershot and strange to truly grab the imagination. To me, The Dreaming is a record that opened a new world, not just for Kate Bush but the wider musical landscape. It is a fantastic album that, almost thirty-seven years after its release (it was released on 13th September, 1982), sound completely brilliant, underrated and…

UNLIKE anything else.

FEATURE: A Common Love: The Wisdom of Queen Lizzo and the Power of King Stormzy

FEATURE:

 

 

A Common Love

IN THIS PHOTO: Stormzy at this year’s Glastonbury

The Wisdom of Queen Lizzo and the Power of King Stormzy

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THERE are a couple of reasons I wanted to….

 PHOTO CREDIT: Samir Hussein/WireImage/Getty

bring up Lizzo and Stormzy but, for the most part, it all comes down to the inspiration they project from the stage. Both artists conquered Glastonbury and got everyone talking. I will talk in more specific detail soon but, in the case of Lizzo, she gaslvaised people and stirred us with messages of self-love and acceptance. Not only did she give this wild, exciting and supremely confident set at Glastonbury but she brought cheer and wonder to the crowd. These two artists, I feel, created something that went beyond the music. Sure, other acts like IDLES definitely got the people together and in fine voice but I feel there was something especially powerful from Lizzo and Stormzy’s sets. In Lizzo’s case, that positivity and need for people to love themselves could not help but register. The reviews were fierce and, as The Independent explained, Lizzo definitely captured the spirit of Glastonbury: “

“The 31-year-old’s music offers the perfect Saturday afternoon vibes – playful, rowdy, and so laden with personality that even the vulnerable moments are a joy to listen to. Two flute solos – which are very well played, but are special as much for the novelty as anything else – incite perhaps the most frenzied reaction of the weekend so far.

Lizzo is almost maniacally insistent that we all – every single member of a crowd she estimates to about “16 million thousand” – share in her self-love. There are motivational speeches aplenty littered throughout the set. Alongside rapper, singer and flautist, she could add motivational speaker to her resume.

During “Soulmate”, she instructs us to sing “I’m the one” over and over. “I need you to believe it,” she says. “If you can love me, you can love your goddamn self.” Amen”.

 IN THIS PHOTO: Lizzo holds the crowd spellbound at Glastonbury/PHOTO CREDIT: DIY

In a tumultuous and tense time, how often do we stand back and take care of ourselves? I do think music is aimed towards an anger or a sense of depression. We are still hearing too many artists who are exposing their wounds and, whilst this is brave and real, it does not necessarily provide the relief and positivity we need? I do feel like we are all so anxious and aware of the horror around us. Whilst we cannot (and should not) hide it away and deny its existence, the impact it has on our physical and mental health is clear. Lizzo’s mantra is simple but is might not be easy: learn to love yourself. That might sound like a wise notion but how easy is it at a time when we are all sort of feeling the strain?! Her mantra is one we all need to consider in order to live a much more enriched and positive life. I want to bring in a piece Lizzo wrote herself that does not shy away from the complexities and real-world challenges that, to some, seems like a product of the 1960s – that feeling of all being together and, in order to do that, we need to love ourselves and find the good inside:

“…I don't think that loving yourself is a choice. I think that it's a decision that has to be made for survival; it was in my case. Loving myself was the result of answering two things: Do you want to live? 'Cause this is who you're gonna be for the rest of your life. Or are you gonna just have a life of emptiness, self-hatred and self-loathing? And I chose to live, so I had to accept myself.

That's the first step: Acceptance. And acceptance is hard. I'm still accepting myself every day; I'm still working on it.

Sometimes, you need therapy to help you learn to love yourself. I know that therapy is some privileged sh**, and the fact that I'm financially able to afford it, and that I was also in a place where I could accept the fact that I needed it, is incredibly fortunate.

And I also know that there's a stigma around therapy in the black community, and there had been for a long time, especially for black women. We're so strong, because of all that we have been put through, and how little we're sought after and looked out for. So, black women end up like, I got it. I don't need help. I'm handling this. That's why I tried to be strong for so long”.

If you did not see Lizzo’s Glastonbury set then there are clips online (including her version of Juice) and it shows how much love there is for Lizzo. Whilst Lizzo recognises the fact we need to embrace ourselves, for better or worse, she is not promoting something magical or airy-fairy: the reality is that it will be hard and, for those in the black community, there is a sense of stigma. I have heard some social media comments that ask why Lizzo cannot be a ruler; a leader who has the common touch but is tough. It is interesting. I think Lizzo is more than an exponent of self-acceptance and love; she promotes body-positivity and is a figurehead for strong women everywhere.

I do feel we are getting more tired and depressed and, rather than hope for the world to change and bury our heads in the sand, there is something in all of us that can help make the world better. If we are not in touch with ourselves and have that weight on our shoulders then that can be really destructive. An artist who can deliver more than music should be applauded. Lizzo never preaches in a maniacal or insistent way: simply, she has this force and rush that one cannot help but love and admire. I admit there were many female role models at Glastonbury who will inspire for years to come. From Sharon Van Etten, Billie Eilish; Kylie Minogue, Little Simz and Christine and the Queens – so many bold and brilliant performers. I think Lizzo is the Queen of Glastonbury and she performed that near-impossible trick: raising and uniting people through joy and urging them to think deeply about themselves and loving who they are. If one wants to crown a King of Glastonbury then, again, there were options. IDLES played a blinding set whilst DAVE and slowthai cannot be faulted – the same goes for The Chemical Brothers and The Cure! There is no denying that people had reservations when Stormzy was announced as a Glastonbury headliner. For an artist who has only one album, Gang Signs & Prayer, under his belt, many were not sure whether the London-born rapper would be able to handle the pressure and deliver.

Apart from other random moaning about Glastonbury – was the BBC’s blanket coverage a good idea? among them – one cannot deny the quality on show. To me, the women owned the festival – including great sets from Miley Cyrus and Sigrid – but there was one man who seemed to represent what Glastonbury was all about: Stormzy delivered big messages and anger (arriving in a Union Flag bullet-proof vest and getting the crowd to give a middle finger to Boris Johnson) but, like Lizzo, there was this need for the people to gather and feel the love. If Lizzo’s message of self-love was more personal and intimate, Stormzy’s widescreen performance called for a large-scale movement and revolution. His Friday headline set gathered huge reviews. Here is one report from The Guardian:

“Iconic.”

“It’ll go down in our country’s cultural history.”

“An inspiration.”

Musicians, politicians and fans have hailed the rapper Stormzy after he became the first black solo British headliner at Glastonbury festival, opening to a spectacular pyrotechnic display on the Pyramid stage”.

In other review with The Guardian, Alexis Petridis explored the human side of Stormzy’s set. Here he writes how Stormzy, both humble and aflame, managed to deliver a huge high:

“For all the eye-popping, OTT aspects of the show, there’s something very human and touching at its centre. When not imperiously rapping, Stormzy looks genuinely overwhelmed by the size of the crowd he’s drawn on what he describes as “the greatest night of my life”. Another guest, fellow rapper Dave, congratulates Stormzy at length on his achievements before leaving the stage, and, under the circumstances, it doesn’t feel like hyperbole. As Dave seems to suggest, Stormzy’s sheer charisma and talent have elevated an entire generation of black British music. Stormzy himself pays tribute to a string of new-school British rappers as varied as Little Simz, Not3s and Slowthai – and all of them would not be in such a strong position without Stormzy”.

Before I round things off and explain why I feel Lizzo and Stormzy created such iconic sets, author Zadie Smith has penned a feature for The New Yorker that casts Stormzy as a king:

“Onstage, “killing it” is a thing always fated—a special kind of destiny—and yet simultaneously self-created, moment by moment. You have to earn what has already been given. “I feel like the twenty-five years of my life,” the young king insisted, visibly moved, as he looked out upon a crowd bigger than Agincourt, “have all led up to this moment.” It was the definitive line in a monumental drama, performed at a consistent hundred and forty b.p.m., with as many memorized verses as may be found in any of our great tragedies, yet with only one man onstage to say them all. Who managed to bring forth, upon that unworthy scaffold, a tale about the state of the nation, about the place of the black peoples within that nation, and his own place within both. Who used the stagecraft of the court—ballet, choral music, jesters doing wheelies, dancing acrobats—to tell the court he had arrived.

I think Smith articulated the strengths of Stormzy greater than anyone else. How she talks about his dignity and fire; the contrasts that make him both accessible but untouchable. Here, in this passage, she remarks (on Stormzy’s) human anxieties and his anger regarding those in power: 

All things are ready, if the mind be so—if the mind be merky. Covetousness, fury, passion, attitude, desire—the much maligned skills of the street—were now concentrated and trained upon the task at hand. Fair nature was disguised with hard-favored rage, which was itself harnessed and offered outward, to the people, as a kind of service, so that they might express their own feelings of wrath.

(Fuck Boris!) Yet the young king did not hide his own anxieties, nor shy from the resentments and harsh judgments of others. Once, such a man could walk cloaked and incognito through the field, listening to the people run him down and curse his name; now he lurks on Twitter, absorbing ego death by two hundred and eighty characters. Yet, if the crown is heavy, he wears it well. He pays his dues. He makes pragmatic alliances with red-headed kings of expedient countries. He references his elders without entirely bowing to them”.

It is true that Stormzy ascended to a higher plain after his Glastonbury set! He managed to echo the sentiments felt by the masses regarding the state of politics and delivered an almost sermon-like explosion that was spiritual, inflamed and raw. It was also human and very real. This was not an artist hiding behind ego and arrogance: instead, here stood a pioneer and leader, not only for the black community and his peers, but the nation (and world) as a whole. Catch Stormzy storm it here and, together with Lizzo, Glastonbury 2019 has to go down as one of the all-time great festivals! Lizzo’s insanely good set provided many musical highlights, yet it was her desire for the people to love one another that stood out – as she has explained in interviews, the way to realise self-acceptance and love is as much about seeking help and guidance as anything else. Both Lizzo and Stormzy are incredible role models. Lizzo’s empowerment, body-positive aesthetic and positivity goes beyond women and the black community – she is speaking to each and every one of us. The same can be said for Stormzy. Both has challenger when it came to the King and Queen of Glastonbury crown (for Stormzy, IDLES and The Chemical Brothers were near; Lizzo had Kylie Minogue, Janelle Monáe and a host of others) but all challengers were defeated. Both performers created a sense of harmony and strength but they made us think; they delivered their music with heart and soul and, during a particularly hot Glastonbury, Lizzo and Stormzy…

PHOTO CREDIT: DIY

LIT a fire that will burn for years.

FEATURE: Vinyl Corner: Sleater-Kinney – Dig Me Out

FEATURE:

 

 

Vinyl Corner

PHOTO CREDIT: John Clark/Robert Paul Maxwell 

Sleater-Kinney – Dig Me Out

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I don’t think anyone was expecting…

the news to come through regarding Janet Weiss’ departure from Sleater-Kinney. She has been the band for twenty-four years and it has come as a mighty shock. Here, as Pitchfork explains, it is a big revelation:

 “Janet Weiss has announced her departure from Sleater-Kinney. “The band is heading in a new direction and it is time for me to move on,” the drummer writes. Read her full note below. Weiss joined Sleater-Kinney in 1996, first appearing on the album Dig Me Out. She has played on every record since, including The Center Won’t Hold, their upcoming album produced by St. Vincent.

In a statement, Weiss’ bandmates responded to her announcement: “We thank her for joining us on this journey many years ago; we will always cherish our friendship and our time together.” Representatives for the band offered no further comment when reached by Pitchfork”.

I think Weiss has cited a new musical direction for her departure, but I am not sure what that means. Whether she is not keen on the current album or feels she has reached the end of the road, it is a big change for Sleater-Kinney. The new album, The Center Won’t Hold, is upcoming and, from what I have heard, it is going to be terrific. Perhaps there is a bit of St. Vincent in the album in terms of sound but I love the direction. It is hard to say what truly motivated Weiss to make that decision but I know the band will carry on and, with a new album to tour soon, they need to continue and stay strong.

 IN THIS PHOTO: Sleater-Kinney today (including Janet Weiss, right)/PHOTO CREDIT: Charlie Engman

Thinking about Sleater-Kinney and their new album has got me considering their past and when they arrived in my life. I have heard all of the band’s albums but, if you want their classic album, then you need to investigate Dig Me Out. Released on 8th April, 1997, the music is slightly different to 1996’s Call the Doctor but a lot of the same ingredients remain: a general lack of bass, killer songs and something pretty immediate and raw. If Call the Doctor was motivated, in part, by a bad job guitarist Corin Tucker had, Dig Me Out is more about survival, heartache and determination. If you have not purchased Dig Me Out on vinyl then make sure you right that and let it play. It is a fantastic record and, like its predecessor, recorded fairly quickly and burrows in the brain instantly. Lora Macfarlane drums on Call the Doctor and Janet Weiss joined for Dig Me Out. Not that there is a radical difference but one can sense a new drumming style and influence emanating from the back. Alongside producer John Goodmanson, Sleater-Kinney recorded the album in eight days and, whilst that sounds pretty rapid, it was actually quite a luxury for a still-rising band without a huge budget. Dig Me Out is a harder, rockier affair than Call the Doctor. It digs deeper and Weiss’ Classic Rock/Pop influences come to the fore – she was inspired by bands such as The Kinks and The Beatles.

At once, Weiss was a key element and brought in new Blues and unique edges. It was a bit of an eye-opening appointment and, as such, Sleater-Kinney broadened their music and hit new peaks. There is a greater connection between vocals and guitars on Dig Me Out and, in so many ways, Sleater-Kinney realised what was possible with their sound. Heartache and revival runs right through the album. Corin Tucker and Carrie Brownstein talk about their struggles and lives in a very relatable and honest way. The fact Brownstein and Tucker were dating was a bit of surprise to many – the media didn’t exactly hold back when it came to invading privacy! Dig Me Out is a very real album where Tucker and Brownstein are conversing, battling and consoling one another. In a year when The Chemical Brothers, The Prodigy and Radiohead were ruling the scene, Sleater-Kinney provided something alternative; a Punk-Rock kick that spoke to so many people. Dig Me Out is considered one of the finest albums of the 1990s and, to many, it is Sleater-Kinney’s breakthrough and finest moment. Pitchfork, when looking at the band’s back catalogue, talked about Weiss’ arrival and how things changed for them:

“In practice, Sleater-Kinney were humble, imageless indie-rockers; in song, they demanded icon status. This streamlined set, Start Together, captures that dichotomy, archiving the Sleater-Kinney canon with care: from the ideological-punches of thirdwave feminism to their post-riot grrrl classic rock revisionism, all seven albums have been remastered and paired with a plainly gorgeous hardcover photobook, as well as the surprise of a reunion-launching 7" single. In all, Start Together tells the unlikely story of how this band carried the wildfire of '90s Oly-punk to pastures of more ambitious musicality—a decade that moves from caterwauling shrieks to glowing lyricism, from barebones snark to Zep-length improv, from personal-political to outright (left) political.

Then, behold: Janet Weiss. She joined on 1997's breakneck Dig Me Out, an all-time great American punk statement, giving Sleater-Kinney the most crucial muscle a drummer can offer: not sheer force, but heart, taking the momentum to a new plane. Sleater-Kinney released their next four records with the larger Olympia feminist label, Kill Rock Stars, but none distilled the band's sound and attitude like Dig Me Out: sometimes brutal heartache, sometimes a menacing threat, always intelligent and extreme, there are enough hooks architected into these two- and three-minute songs to span several albums, but even the added dum-de-dum sugar seems as though it must be raw Portland agave.

The highlight of Dig Me Out and Sleater-Kinney's career, "One More Hour" is one of the most devastating break-up songs in rock. "Oh, you've got the darkest eyes," Tucker and Brownstein quaver in unison—the song is about their own short-lived romance—and the way Tucker extends the last word, it is like she can't let them go. There are complex feelings near clear ones, which is what break-ups are: someone wants to untangle the mess, someone wants to snip it apart. "I needed it," Tucker howls, hardly distinguishing where one word ends and another begins. "One More Hour" is sublime sadness, a kind one can only know when staring at the end of something and wanting desperately for it not to be so”.

IN THIS PHOTO: Sleater-Kinney (circa 1997)/PHOTO CREDIT: Getty Images

It was not just the chemistry and connection between the band members that defined Dig Me Out: a lot of the darker and more harrowing moments stand out – as Diffuser noted in their review:

 “Still, it’s the bleaker moments of Dig Me Out that garnered the most attention when it was released, and which still register today, like "The Drama You’ve Been Craving," with its breakneck pace, and the call and response of Tucker setting the scene and Brownstein providing the weary inner monologue. The chugging tandem guitar line that precedes the chorus amps up the tension that doesn’t break until after the second chorus, when Tucker shouts, "Kick it out, kick it in!"

The album still hits hard, even for those who made it.

"Any time I revisit Dig Me Out," said Brownstein recently, "I am struck by its velocity, how I feel almost trapped inside it. I think it's because the album sounds like it takes place in the middle of a much longer ache and scrawl, that there's a life before it and a life after it, that we captured not the launch or the landing but the trajectory itself. The trajectory of the band, of love, of escape, of rage.

"Maybe we were trying to provide a soundtrack," she continued, "both for ourselves and for anyone else who had little desire to go back to the places that haunted them; we'd stay aloft until we destroyed what held us back, or transformed what lay ahead".

 PHOTO CREDIT: Anthony Pidgeon/Redferns

It is clear that Sleater-Kinney’s masterpiece was a breakthrough and you can hear so many elements in modern music. The band redefined what was possible for Punk-Rock and broke barriers; they tackled social assumptions and showed that they were not willing to compromise their ethics and beliefs; a rebellious and strong-willed band that provided inspirations for others coming through. To me, Dig Me Out was the introduction of this great band who were so different to anything out there. I was listening to female bands in 1997 but there was nothing as exciting and mind-opening as Sleater-Kinney. Everyone has their own reasons for loving Dig Me Out but, as musician and journalist Katie Harkin reported for CRACK, Sleater-Kinney were more than just music: they were a part of her fabric:

“Over time I have come to believe that, if you don’t see yourself reflected in the world, you can use popular culture as a kind of scaffolding. It’s especially true when you’re younger, while your identity is still emerging, and Sleater-Kinney were part of the scaffold that I built for myself as a teen. Now, a decade after first discovering them, I wondered about pulling the scaffold apart to try and look at it objectively, and to attempt to do justice to the opportunity I had been afforded. I wondered – if I started to dismantle the scaffolding, would the house would stay standing?

After the first show I played with Sleater-Kinney, I was genuinely speechless. I didn’t play every song, and the experience of switching between being in the show and watching the show felt like jumping on and off a moving freight train”.

Dig Me Out is an album that hits against the suffering women endure and asks for compassion. That sense of rage and anger is filtered into songs that are about survival and keeping going; a sense of betterment that cannot help but stir the senses. With Hurry on Home out in the ether, it seems like The Center Won’t Hold will wow critics and, with St. Vincent producing, new possibilities are coming out. Weiss’ departure casts a shadow - but I know Sleater-Kinney will continue regardless. Anyone who has heard Dig Me Out and subsequent albums featuring Janet Weiss realise how essential her presence is and how she transformed the band’s dynamic and sound. It is sad she has left but I wanted to feature (I think) Sleater-Kinney’s finest hour because it is a record that sounds amazing today. The band are going through transformation and I am not sure what lies ahead for them. The outpouring of shock on social media is understandable because so many people were reborn and understood when Dig Me Out was released – Janet Weiss was a key reason for that. It is a shame we will not get to hear her perform on future Sleater-Kinney albums but, for that reason, make sure you get The Centre Won’t Hold and experience Weiss’ magic for one last time. Sleater-Kinney’s Dig Me Out offered the music world something new and alive in 1997 and, twenty-two years later, they are still…

REWRITING the rulebook.