It would be easy to describe Paula Cole as ‘just another 90s singer-songwriter’. Every biography mentions her association with the Lilith Fair festivals, that zeitgeist of 90s new wave feminism that faded as quickly as it came (attempts to re-create the Lilith Fair hype only a few years ago fell embarrassingly limp). And of course, we can’t forget that this is the woman whose voice opened up every episode of the 90s cultural phenomenon (might be a bit strong a word, but it was certainly popular) that was Dawson’s Creek. While her ambitious creativity was rarely met with commercial success (Where Have All the Cowboys Gone and I Don’t Want to Wait remain her sole Top 10 singles in the States), Cole is an artist in the truest sense. Over the course of her 20 years in the music industry Cole has followed her muse before all else. Where her contemporaries have often chosen to play it safe (Sarah McLachlan, Sheryl Crow) rather than tip the applecart, Cole has proven herself a true successor to the likes of Joni Mitchell, Carly Simon, and Kate Bush in her willingness to eschew convention for creative growth. 2014 marks the 20 year anniversary of Cole’s debut album ‘Harbinger’, and with this milestone comes a much deserved look at the body of work that Cole has crafted.
Bethlehem
Cole during the Harbinger era.
Growing up in the small town of Rockport, Massachusetts, Paula Cole was the youngest daughter of a elementary school teacher and a scientist. Cole’s family were musical, her father playing in a polka band and family sing alongs encouraged. After surviving the angst of adolescence and high school, Cole followed her musical dreams to the Berklee College of Music studying jazz singing and improvisation. However, studying the works of great composers like Gershwin was paralleled by Cole’s own burgeoning songwriting. Cole found herself at a crossroads: a record contract with a jazz label or pursue her own craft and musical vision. Cole took the plunge, and in 1993 signed with Imago records to begin recording her debut album. While Cole wanted to produce her own album from the get-go, the record label felt it better for her to work alongside someone more ‘experienced’ and the reigns were handed to Kevin Killen. Killen had had a hand in many a great record (and continues to), and was a good fit for the restless and introspective Cole. ‘Harbinger’ was truly a departure from Cole’s jazz studies although remnants of her training would emerge briefly in song structures. Like it’s stark album cover depicting a huddled Cole in a too-big trench coat (this is the better known cover anyway – there were two), ‘Harbinger’ is an album of shadow, introspection, and emotional catharsis. Often touching on her small-town experiences growing up, Cole’s lyrics are a poignant reflection of interpersonal dynamics (Bethlehem, Happy Home) and the darker sides of humanity (Hitler’s Brothers).
I Am So Ordinary single cover.
Already, Cole was demonstrating her fearlessness in telling things as they were and foreshadowed her plunge into themes of social justice and inequality on her later records. That said, Cole is at times naïve in her assessments of human kind, and a song like Black Boots, while obviously meaningful to the Cole of that time, does come off as rather self-indulgent. The album itself is a lush and nuanced work and Killen’s production is dynamic throughout. Dreamy synths are backed by a rock band on the single-worthy Saturn Girl, which demonstrated Cole’s capacity for accessible material, while strings are employed to dramatic effect on the likes of Chiaroscuro and Our Revenge. Cole’s vocals are the real showstopper though and transcend anything she sings to new heights. On ‘Harbinger’, Cole is vocally restrained compared to later projects, but this is understandable for a new artist probably feeling some pressure to remain accessible and finding her legs. Yet this does not mar the sheer beauty of her voice, which is at once delicate and dizzying (She Can’t Feel Anything Anymore) and ominous (Our Revenge). While the album had all the makings of being an alternative radio hit, it’s lead single I Am So Ordinary, a heartbreaking paean to being the other woman, failed to spark interest and soon after the album’s release Imago records collapsed and its artists were picked up by Warner Brothers. ‘Harbinger’ was re-released in 1995 to coincide with this move, however promotion was limited and the album ultimately fell through the cracks. Cole, however, was beginning to be recognised as a burgeoning young singer-songwriter and appearances with the likes of Melissa Etheridge on VH1 did help to boost her profile. The best was yet to come though.
Where do I put this fire…
This Fire brought colour to Cole’s musical palette.
Following the demise of Imago records and her move to Warner Brothers, Cole was commissioned to make another album. This time though, Cole was given free reign and a minimal budget – it seemed Warner Brothers were simply going through the motions and did not expect Cole to justify her place on their roster. Cole took the opportunity gladly and after the catharsis that ‘Harbinger’ represented, found herself carrying a new energy. She poured this newfound confidence into making her second album, ‘This Fire’ and the record signified a shift away from the Kate Bush-lite tones of ‘Harbinger’ and into a new, exciting, and wholly individual musical vision. Cole not only helmed production, vocal, and songwriting duties but was also responsible for most of the album’s instrumentation, playing everything from piano to didjeridu! Listening to the album, it is clear how much Cole revelled in having complete creative control. After all, the precocious young artist had wanted full control over her product even as a novice. Also apparent is Cole’s preference for a starker approach compared to the slightly heavy-handed production on ‘Harbinger’. Where ‘Harbinger’ was painted in dark shadows and blinding light with little middle ground, ‘This Fire’ brought colour to Cole’s musical vocabulary and expanded on her vision while also paying tribute to her past.
From the opening seconds of Tiger, Cole’s voice conveys a ferocity and passion otherwise subdued in the introspection of ‘Harbinger’. Fittingly though, this opening track references Cole’s newfound freedom (I’ve left Bethlehem / and I feel free / I’ve left the girl I was supposed to be) and sets her on the road to living in the moment. ‘This Fire’ is a rollercoaster of a record and a snapshot of a woman finding her identity. Where ‘Harbinger’ was keen-eyed in its judgment on others, this emancipated Cole is fierce and rips her opponents
This Fire album cover.
to shreds (Throwing Stones, Road to Dead). There are still accessible moments here, such as the hit single Where Have All the Cowboys Gone, all country twang and jaded nostalgia. Or there’s Me, the album’s third single and most overtly introspective moment, unfortunately not having the same success as its predecessors yet containing Cole’s most blatant hooks and melodies. The darker moments are where the album truly shines though, and Cole’s stark storytelling comes into its own when backed by fittingly stripped-back instrumentation. The intensity of Nietzsche’s Eyes – dealing with the realisation of an admired figure’s true colours – is almost unsettling, as Cole unravels into a throat-shredding vocal outro. Similarly, the eerie and foreboding Mississippi is a fitting tribute to the river, and Cole crafts a dark fairytale around its banks. Juxtaposing these darker moments though are the album’s more sentimental, such as the heart-wrenching tale of a man dying from AIDS in Hush, Hush, Hush (featuring an appearance by the inimitable Peter Gabriel) or the tale of love through the ages in I Don’t Want to Wait. While the album is certainly a mixed bag of styles and tones, it is Cole’s most accomplished release to date and even today is a thrilling, invigorating and touching listen – a seminal album of the 90s even if it’s not recognised as such by a wider audience.
The album remains Cole’s most commercially successful – despite stalling at #20 on the Billboard Charts, it was a steady seller and eventually certified 2x Platinum. The album and Cole were also nominated for seven Grammy Awards, with Cole winning for ‘Best New Artist’ (ironic, since this was her second album). As a female producer though, the honour lay in being nominated for ‘Best Producer’, the first solo female producer to be so at that point. Not having grown up in the United States, and with their being only minimal video archiving of Cole’s career, it’s hard for me to establish exactly how successful she was at this point. Nevertheless, it is obvious that Cole became synonymous with the wave of female singer-songwriters that emerged in the 90s and became a figurehead due to her involvement with the Lilith Fair festival. Cole experienced a wave of success, yet it suddenly vanished with her next project.
Standing at the edge of the precipice
‘Amen’ saw a more socially aware Paula come to the fore.
Coming off the success of ‘This Fire’, Cole was once again given free reign to create her next record – this time however, Warner Brothers were much more invested in the project being a commercial success. Cole had different plans though. Ever the restless artist, Cole was not content to traipse out another ‘This Fire’, and given that album’s lightning-in-a-bottle magic, it was unlikely that Cole would be able to (or want to, for that matter) tap into that same reservoir. Not succumbing to pressure, Cole began work on her most ambitious and misunderstood record that would eventually become known as ‘Amen’. Cole’s inherent restlessness and insecurity is all over the project – from redundant name changes (to the Paula Cole Band), to longer song times – yet do not ultimately compromise the album’s quality. A concept record of sorts, the album is Cole at her most socially aware and contains many a commentary of the oppression of women, the social inequalities of racial minorities, the use of religion as an subjugating force, and the quest for spirituality. While Cole had previously nodded towards such themes on her previous records, ‘Amen’ was much more overt in its messages and wore its heart on its sleeve, so to speak. To the casual observer, Cole’s albums seemed to be getting shorter, with each having successively fewer tracks, however ‘Amen’ was an album of longer tracks which allowed Cole the flexibility to experiment and craft more complex sonic stories.
In contrast to the piano- and acoustic guitar-based alternative rock of ‘This Fire’, the new album showcased Cole’s love of urban sounds, incorporating R&B and Hip Hop elements into its soundscapes. On Rhythm of Life, Cole even raps the verses, a brave move but one that showed her commitment to spreading her creative wings. The album’s opener, I Believe In Love, is a lush R&B-meets-disco stomper showcasing Cole’s nimble vocals and aptitude for narrative lyrics. The song screams ‘hit single’, but unfortunately suffered from a lack of promotion. I Believe In Love is one of the album’s few uptempo moments, with many midtempos and ballads creating a more subdued
The ‘Amen’ album cover.
tone. Where ‘This Fire’ was, well, fiery ‘Amen’ was Cole channeling Mother Earth in the album’s quietly demanding moments. Pearl and La Tonya (the former a reflection on commitment in relationships and the latter an account of a Latina girl experiencing prostitution and drug abuse) are slow in their buildup, but are testament to Cole’s ability to create epic and nuanced songs with a distinct message. Anyone who felt Cole had lost her ‘edge’ though need only listen to Suwannee Jo, a track composed in the ‘Harbinger’ days, but given a dark, rumbling energy complete with vocal callisthenics to amaze even the diehard fan. Cole may have been embodying the Gaia image, but she could be as biting in her commentary as she had been in emasculating men on ‘This Fire’. The album’s title track, earmarked to be a single but eventually cancelled, is a sarcastic yet searching view of religion and faith, and has Paula praising everyone from Kavorkian to Gandhi to ‘the drivers in their garbage trucks’.
Paula had let her ambitions run wild with ‘Amen’ and crafted a deliciously warm, yet thought provoking album. Of course by 1999, the music industry had again shifted and female singer-songwriters with something to say were again passé. Cole’s record company, wanting a hit single, found nothing to their liking and refused to promote the album. Critics seized on what they saw as naïve social commentary and lambasted Cole for her attempt to sing about experiences she had never had. So much for storytelling in song.If Dylan had released this album it would have been critically acclaimed. Alas, this was not the case for Cole and the album sold poorly.
Finding courage
Paula Cole did not release her fourth album, ‘Courage’ until eight years after ‘Amen’.
Warner Brothers refused to promote ‘Amen’, and the album soon vanished from the lower ends of the charts. Cole went on to record a fourth album collaborating with producer Hugh Padgham, but the record label refused to release it and the album was never released (many a Paula Cole fan would kill to hear it. The only track to have leaked is Singing Out My Life). In 2003, Cole and Warner Brothers went their separate ways, and three years later a ‘greatest hits’ (in inverted commas since Cole only had two hits) was released, containing tracks from her first three albums, the jazzy soundtrack contribution Autumn Leaves, and two divine ‘Amen’ outtakes, Postcards From East Oceanside and Tomorrow I Will Be Yours. In her personal life, Cole got married and had a child, but this too soon turned sour and the combination of having to care for a sick child and a long, messy divorce from a controlling ex-husband broke Cole and stripped her of the will to commit to music. It wasn’t until 2007 when Cole, approached by Bobby Columby of Decca records, ventured back into the studio with the goal of making a new album. For the first time in 12 years, Cole did not produce her own album and left the majority of the instrumentation to session musicians. Even the songwriting was a shared process this time around. In talking about the album, Cole described the need to ease herself back into the process and the insecurity she faced after having been through so much in her own life. The word she would keep coming back to was ‘Courage’ – nearly every song on the album has the word ‘Courage’ in its lyrics, and it acts a mantra to tie the album together.
‘Courage’ is somewhat of an anomaly in Cole’s catalogue. After the ferocity of ‘This Fire’ and the experimental ‘Amen’, you can feel Cole’s reticence in the makeup of ‘Courage’. Cole’s jazz roots finally come to the fore (Lovelight, Lonely Town, Hard to be Soft) and make for much lighter and romantic fare than Cole was known for at this point. There are some tracks that feel more familiar, such as 14 with its tense build-up and crescendoing vocals; or the chilled, downtempo groove of It’s My Life which wouldn’t feel out of place on ‘Amen’. Yet overall, this record serves purely to make Cole comfortable as a recording artist again. Cole sounds largely defeated and resigned on much of the record, which does add a certain charm and intrigue, but ultimately waters down the material and makes the album her least memorable. The return of Paula Cole was however met with good favour (even if the sales were still poor) and there was some appreciation shown for her 90s work. ‘Courage’ brought Paula Cole back to life, and her next release would see her re-discover her fire.
Ithaca
Paula Cole returned home and to her roots with ‘Ithaca’.
Still signed to Decca records and feeling more confident in her ability after ‘Courage’ was well received by fans and critics alike, Cole went on to work on her fifth studio album. Coming to terms with her past and making peace with the many parts of her life she had fought against in the past, Cole named the album ‘Ithaca’ after the Greek myth of Odysseus. Returning to her hometown of Rockport, Massachusetts Cole likened her life’s journey to that of Odysseus finally returning to his home of Ithaca. Cole had this to say about the album:
I … got really beat up in the world. So I’ve come to a quiet place of acceptance in my family and my hometown. That’s why I called the album ‘Ithaca’ … That’s the tone of the album, that there is both darkness and light to this story. My journey has healed me, and in that healing process I’ve been able to work again.
The album was a return in more ways than one and while Paula continued to collaborate (even bringing back Kevin Killen to co-produce) it felt a more organic progression from ‘Amen’ than the jazzy ‘Courage’ had been. It seemed that Cole had rediscovered her fire and her newfound ferocity was on show, seemingly channelled towards her ex (The Hard Way, Music In Me). While less experimental than ‘Amen’ or ‘This Fire’ had been, Cole still slipped into a style that was undoubtedly her own by now, and was more angsty and edgy than the softer curves of ‘Courage’. ‘Ithaca’ showcased a more subtle approach to her typically insightful and acerbic lyrics – Waiting on a Miracle, throws barbs at her ex but also has a hopeful message. The funky P.R.E.N.U.P. is a sassy kiss off as well as a warning to avoid to other newlyweds. That said, the album is not all bitterness – true to its theme, Paula had moved on and this is evident in the sexy slowjam aptly named Sex, the romantic 2 Lifetimes, and the cathartic Elegy. Embarking on her first tour in 15 years, Cole was well and truly back and enjoying her craft again. ‘Ithaca’ was well received by critics, who harked it as her return to form, and they were right to say so.
Flying like a raven
Independent and soaring on ‘Raven’.
After nearly 20 years of jumping through the hoops of various record labels and seeing diminishing returns, Cole decided to strike out on her own. After the critical success of ‘Ithaca’, Cole parted ways with Decca and recorded her next album without the budget or expectations of a major label. Turning to her fans to finance the mixing, mastering, and manufacturing of the album, Cole created a successful Kickstarter campaign to create her sixth album, ‘Raven’. The Kickstarter campaign proved that Cole’s fans were still with her and willing to support her through any shift in direction and format of release. Luckily, the fans didn’t have anything to worry about when it came to the quality of the music on offer. ‘Raven’ is a natural culmination of Cole’s influences while also stretching into new musical territory. Sparser and more intimate than any previous album, ‘Raven’ moves the focus to Cole’s lyrical and compositional skills and is her first sole production effort since ‘Amen’.
Cole dabbles in country and folk to a greater extent and the sound on the whole is much rootsier than any of her previous efforts. Yet the stylistic shift once again fits her voice like a glove, and tales of love and loss like Eloise are given a pathos and subtlety other artists might not achieve. The album has an unnerving quietness about it. There are no tracks as bombastic as Throwing Stones, as dramatic as Our Revenge, or as overtly smutty as Feelin’ Love. It is this quietude that a mature Cole brings to her music, and while there are certainly moments of release (the soaring chorus of Imaginary Man; the transcendent crescendo of Manitoba; the climactic exhalation in Secretary) the record as a whole feels a more peaceful reflection on life, love, and self-belief. Strong Beautiful Woman feels like Cole’s manifesto to her younger self – its certainly a message the Cole of ‘Harbinger’ seemed to be searching for in all of her angst and frustration. On ‘Raven’, Cole has well and truly found inner peace and as such her music has also found an inner calm that only serves to refine it. The tag of ‘adult contemporary’ is often thrown at female singer-songwriters over 35, yet boxing ‘Raven’ into the genre would be a disservice to the pure, unadulterated creativity on show here. Cole may not be warring with herself or the world as much, yet her lyrics remain as insightful as ever and her voice still commands the attention it did 20 years ago.
‘Raven’ was critically acclaimed and well received by fans. Cole seems to be relishing the freedom of being an independent recording artist and has already made moves to record her next album. Record company or not though, Cole has always proven herself an independent spirit and unwilling to compromise her vision no matter how misunderstood or underappreciated. Here’s hoping the next 20 years are as fruitful and dynamic.
[Paula Cole’s music is available for purchase on iTunes and Amazon. Her 2013 album, ‘Raven’, is available for purchase from Paula’s web store. Follow Paula Cole on her website and Facebook.]
It’s rare that a duo as inexplicably perfect as The Civil Wars comes along in music. Many a great musical collaboration has occurred between two talented artists in the past, and while the pairing of John Paul White and Joy Williams – two singer-songwriters, who disillusioned by numerous attempts at solo success became a duo after serendipitously meeting at a Nashville songwriting circle they didn’t want to attend – is not something without precedence, you’d be hard pressed to find a duo who so seamlessly gelled in such a short time. What’s even harder to believe though – particularly after the on-stage and vocal chemistry that the two have demonstrated repeatedly – is how suddenly this seemingly perfect combination could fall apart so easily. At this time, the status of this dynamic duo is quite up in the air; a sudden cancellation of tour dates and vague announcement on their website citing “internal discord and irreconcilable differences of ambition” immediately shattered the illusion of an unshakeable creative marriage (the two, despite much speculation due to their intense chemistry on stage, are happily married to other people). What seemed an unbreakable creative couple were suddenly at a complete impasse. With the future of The Civil Wars so uncertain, and after their fourth Grammy win this year, it seemed a fitting time to examine their unique chemistry more closely.
The Road to Barton Hollow
John Paul White.
Pre- The Civil Wars, John Paul White and Joy Williams were artists from different worlds. Californian native Williams was recording from the age of 17, a prolific Christian singer unable to secure a mainstream hit. White, on the other hand, of Muscle Shoals, Alabama was all Southern country-folk-rock, though his lone solo album ‘The Long Goodbye’ is at times a glossier affair than one might expect listening to his work in The Civil Wars (track Over My Head was included on the soundtrack of The O.C.). While both were certainly proving themselves to be accomplished singers and songwriters in their respective genres, commercial returns were minimal and both were driven to professional songwriting.
Joy Williams.
In 2009 Williams and White met at a songwriting round robin in Nashville never having met each other before. The two were paired together first and immediately struck up a rapport that led to the two deciding to form a musical duo. That simple. Making their name as a live act, the newly formed The Civil Wars made a fateful appearance at Eddie’s Attic, Georgia (their second gig) and there recorded their first official release, ‘Live At Eddie’s Attic’ given away for free on their website. This simple live collection is an almost voyeuristic glimpse of two individuals revelling in their newfound creative mojo and intimacy. Gorgeous harmonies are complimented by White’s intricate acoustic guitar – no backing band, no pre-recorded playback or elaborate electronics, just two people on stage singing their hearts out. A particular highlight is their cover of Sade’s No Ordinary Love, a haunting track made all the more vulnerable by Williams’ fragile delivery and White’s subtle backing. They may have never been a romantic pair, but they sure as hell made you believe it in their performances. Over 500,000 downloads of this live album later and suddenly the duo were a hot topic and demand for an original album was palpable.
Birds of a Feather
Barton Hollow.
Recording sessions for what would become the duo’s debut album ‘Barton Hollow’ began in late 2009 in Nashville, Tennessee overseen by producer Charlie Peacock. The album in all it’s shadowy glory captures the effortless vocal harmonies of the two, often backed only by White’s acoustic guitar and sparse percussion, but also incorporating banjo, mandolin, electric guitar and cello. The vocals are what’s on show here though, and the spine-tingling blend of Williams and White’s voices on 20 Years, Birds of a Feather, Poison & Wine, and Barton Hollow, to name but a few is at once haunting and beautiful. Simple and uncluttered in it’s production, the album is an effective paean to the country and folk roots of both artists, with a distinct Southern flavour courtesy of it’s Nashville conception and the Alabama origins of White. Conjuring images of gothic churches, romantic dalliances along the Mississippi, and broken glass after heated arguments, the album deftly combined themes both autobiographical and fictional to create a nuanced examination of love, loss, and desperation. Released on the group’s own label, sensibility records, neither White nor Williams had any expectation of the album becoming a commercial success. However, prior to it’s release the first single Poison & Wine was featured on TV show Grey’s Anatomy. This was immediately another coup for the Wars and coupled with the popularity of their live release, ‘Barton Hollow’ was able to become a top 10 album on the Billboard Charts.
White and Williams continued to be a solid duo and the poster group for a successful and romantically uninvolved male/female group, proving success was possible without scandal or a steamy past to draw listeners in. Where the likes of ABBA, Fleetwood Mac and The White Stripes has been built on and subsequently crumbled due to the complications of romantic dalliances past and present, the Wars were proving that heartbreaking, romantic songs and intense performances could all be part of the show and remain that. Of course that didn’t stop the persistent mumblings of ‘they must have…’ from fans, but then seeing the two sing together it was hard to withdraw that perception. ‘Barton Hollow’ was a commercial and critical success, and won two Grammys. The increase in the Wars’ popularity was matched by a sudden increase in similar sounding country-folk groups (see: The Lumineers), yet their sound and feel was (and is) simply incomparable. Further attention (and another Grammy) came when they joined Taylor Swift on the soundtrack for the Hunger Games (Safe and Sound; to be honest they’re barely audible for most of it, but it’s a lovely song. Their own contribution Kingdom Come is much more effective) and the extensive touring continued.
Dust to Dust
Everything certainly seemed to be looking up for the Civil Wars as 2012 approached. The group were completing a successful worldwide tour in support of their hit debut album, Joy Williams was expecting her first child with much anticipation, and both Williams and White continued to be a reliable and affable creative partnership. Work on the duo’s second album had also begun, again under the production wisdom of Charlie Peacock and a major label deal with Columbia was soon after inked. Then suddenly in late 2012 the remaining tour dates were cancelled, the aforementioned vague message was placed on their official website and it seemed that there was indeed trouble in paradise. Nevertheless, the show went on without any further explanation, and recording for the second, eponymous album was completed quietly in 2012.
The second album
Even though there was no official comment on the state of the band, the album itself, released May 2013, was telling of the sudden tension between the duo and had a decidedly darker feel to it. Vocally the balance of the album was heavier in favour of Williams, who moved away from her characteristically sweet delivery to grittier territory in the likes of The One That Got Away and Tell Mama. The latter is almost chilling in it’s frank delivery and with the backdrop of a group suddenly in turmoil it is all the more affecting. John Paul’s moments are also rather more aggressive, particularly the steamy, lust-filled I Had Me a Girl, likening a love affair to a dangerous game of cat and mouse. On the Wars’ cover of the Smashing Pumpkin’s Disarm, White is at once vulnerable and frantic in his delivery and William’s support on the song only adds to its frenetic sense of alienation. The production on the album is ‘beefed up’ in comparison to its predecessor, and it has bigger moments that can only be described as power ballads (tastefully done, of course. See: Eavesdrop). However, the themes of vulnerability and heartbreak coupled with sparse instrumentation that made ‘Barton Hollow’ so effective is still on show on ‘The Civil Wars’ (Same Old Same Old, Dust to Dust) and, again, are made all the more effective with the knowledge that they were recorded with real tension and pain behind them. The album also features more covers – probably an easier alternative to sitting through more awkward writing sessions – but given the Wars’ talent for making other songs their own, you embrace them just as much.
With uncertainty still surrounding the future of this refreshing and unique musical pairing, it is bittersweet to know that despite already being so accomplished this is a group that can go on to make so much more great music together. Most recently, The Civil Wars won their fourth Grammy for Best Country Duo for From This Valley. The somewhat sad sight of a nervous and disheartened John Paul White collecting the award himself to little fanfare and without thanking the yang to his musical yin was both depressing and frustrating (he later apologised on twitter, and recognised the absurdity of the situation as much as he has since it started). One hopes that these adults can allow bygones to be bygones and come to a peaceful creativity again.
[Both ‘Barton Hollow’ and ‘The Civil Wars’ are readily available on iTunes, from Amazon, or at any good record store.]
With the arrival of her fifth studio album this month, Sophie Ellis-Bextor has once again proven her aptitude for seamlessly flitting from one musical style to another as she pleases. Perhaps the biggest difference with her new album, ‘Wanderlust’, though is just how different it sounds to any of her previous work. Yes, there are certainly echoes of her days as an indie starlet, and her midtempo tracks and ballads have always had a touch of the melancholic about them. Yet, ‘Wanderlust’ feels like Ellis-Bextor fully realising her artistic potential in a way she hasn’t before. As a long-time fan, I wanted to take the opportunity to pay tribute to Ellis-Bextor in all her uniqueness and quirky charm. She may not be the best technical singer or songwriter, but everything she does she does with conviction and with her individual flavour, whether it be creating a masterpiece of an album or competing in a televised dance competition (Strictly Come Dancing in the UK). Since her new album is called ‘Wanderlust’ and is inspired by the globetrotting she has undertaken as part of her touring duties (particularly to Russia who have embraced her even as her homeland decided they were losing interest), it would be best to start this journey at the beginning…
theaudience. A moody bunch.
thebeginning
…musically speaking anyway. Ellis-Bextor’s first foray into music was as lead singer of the short-lived Britpop band theaudience. Heavily into the Britpop scene at the time with a penchant for Blur and Oasis, amongst campier influences like Toni Basil and the musical ‘Grease’, a fresh-faced 17-year-old Sophie Ellis-Bextor answered an ad looking for a young, female singer for a new band. A demo tape was handed to one Billy Reeves and before she knew it Ellis-Bextor was gracing the covers of such magazines as Melody Maker in the UK. The hype was large for the group being hailed as the new Blondie or Pretenders, and Sophie’s rather detached singing style and persona were seen as a breath of a fresh air for a male-dominated, and rather egomaniacal, genre. Of course with hype comes a lot of pressure and while the band were able to deliver two top-30 singles (A Pessimist Is Never Disappointed and I Know Enough (I Don’t Get Enough) and a top-25 album, sales dwindled quickly, Billy Reeves ran out, and the band imploded. A retrospective look at the eponymous album from the group (my own look to be found here) reveals a promising and dynamic band, poised for great things but also a little self-aware and self-deprecating in that uniquely British way. The album itself is excellent, and cuts like Keep In Touch, The More There Is To Do, and How’s That? showcase the band’s ambition, and a young Sophie’s unique vocal flourishes combine for a record that is so much more than a dirge of guitars and ‘attitude’ a la the Britpop era. Alas, nothing lasts forever and despite the good intentions of the remaining four members to carry on creating a second album, neither Mercury Records nor in-band tensions allowed that to happen. What could have been exists in a number of unreleased recordings that have seen the light of day in recent years, highlights being Out With the Old School (Wisdom) and Grey With Dusty Rain. These tracks are probably more obvious precursors to the string-laden and atmospheric tracks of ‘Wanderlust’, even if subconsciously so.
An unexpected visitor
Following the demise of theaudience, Ellis-Bextor found herself in a self-imposed creative rut, starting miscellaneous projects (a novel for one thing) and dabbling in modelling. Still listed as a songwriter on theaudience’s publishing deal, a demo CD was sent to her containing an instrumental house track called Groovejet, which required lyrics and a vocal. Ellis-Bextor, still seeing herself as an indie kid, was at first dismissive, however eventually found her way back to the CD and composed some of what would become Groovejet (If This Ain’t Love), one of her biggest hits.
Read My Lips.
An unexpected success, the track topped charts around the world and opened the door for the next stage of Ellis-Bextor’s musical journey, this time a headlong plunge into the world of dance, disco, and all things electro-pop. Despite the seemingly strange transition, Ellis-Bextor pulled off being a house diva just as well as being the lead singer of a band and flounced her way into a new recording deal with Polydor. Ellis-Bextor has always seemed one of those pop stars not particularly daunted by record label ‘expectations’ or those of her fans for that matter. However, coming off of her first successful single and into the sessions for her first album must have carried some degree of anxiety. Ellis-Bextor was given free range to work with her choice of collaborators, including Damian LeGassick, Gregg Alexander, Alex James, and Jony Rokstar. A one-off writing session was even carried out with Moby, which lead to the gorgeous mid-tempo ballad Is It Any Wonder . Preceding the release of her debut album by one week was debut solo single, Take Me Home, a partial cover of Cher and the first look at the brand of sophisticated dance-pop that Ellis-Bextor was to become best known for. With her cut-glass accent, awkwardly ‘proper’ poise, and stunning looks, Ellis-Bextor was a nice antidote to the Britneys and Christinas of the time. Her debut album, Read My Lips, followed suit as a solid if at times uneven collection of quirky pop songs. Take Me Home was a success and then second single Murder On the Dancefloor was an absolutely massive success, racing to the Top 5 of charts the world over and becoming the most played song on European radio in 2002. The singles were not necessarily a good indication of the sound of the album, which fell into a style in line with the disco throwback of Murder… (Everything Falls Into Place, Lover) or the indie leanings of theaudience (Leave The Others Alone, Move This Mountain). However, reviews were middling and rightfully commented on the inconsistency of the tracks and lack of energy in the album as a whole. The album had ambitious moments, but nothing really gelled and it felt more like Ellis-Bextor trying to find what would stick best than having a unified vision for the project. Already though Ellis-Bextor proved herself willing to think outside the square and her personality was stamped all over the album.
Birth of an Empire
Shoot From the Hip.
Despite poor reviews, ‘Read My Lips’ was a commercial success in the UK (#2), Europe, and Australia (#9), amongst others and went on to be re-released with two additional singles, Get Over You and Music Gets the Best of Me. Ellis-Bextor was one of the most successful British acts of 2001/2002 and went on to a successful European tour in support of her album. The Watch My Lips tour, while modest in production was a good showcase for Ellis-Bextor’s vocal talent and energetic (if still awkward) stage presence. After the tour, Ellis-Bextor was back in the studio to make her second album, however a relationship breakup around the time meant that the feel of the album was bound to be different to the scattered, tongue-in-cheek ‘Read My Lips’. The album was to become ‘Shoot From the Hip’, and signified one of many subtle stylistic shifts for Ellis-Bextor over her career. Working again with LeGassick and Alexander, Matt Rowe, Bernard Butler, Jeremy Wheatley, and Rob Davis were also on board as co-writers and producers. With Ellis-Bextor reportedly banning the word ‘disco’ from sessions and splitting from long-term boyfriend Andy Boyd early in the project, the album had a decidedly less ‘sparkly’ feel to it. The nu-disco trappings were replaced with spiky electronic flourishes (Making Music, Love It Is Love), guitars and other live instrumentation (Party In My Head, You Get Yours), and more introspective moments lyrically and sonically (Hello, Hello, I Am Not Good At Not Getting What I Want). Ellis-Bextor has since reflected on the album and the influence of her personal issues:
The second album still had the same feel as the first, but it was maybe a little bit darker. During that record I was going through a bit of a break-up so there are a few break-up songs on there. I wasn’t feeling quite as funny and breezy as I was on the first album, but I got it back on album three. (Attitude, 2014)
Sporting a new blonde hairdo, Ellis-Bextor launched the album with first single Mixed Up World, a Pet Shop Boys-influenced empowering pop song complete with brass instrumentation, on 13 October 2003. The single, probably the most closely related to the sound of her first album was a decent introduction to the album and managed a top-ten position in the UK. This was followed by the release of the album, debuting at a disappointing #19 in the UK, and the release of a further single the cheeky but comparatively formulaic I Won’t Change You, which also managed a top-ten position in the UK singles chart. An unexpected pregnancy during the later stages of the album’s completion meant that promotion for the singles was limited compared to the marathon of the ‘Read My Lips’ era, and ultimately this affected the album’s performance, which internationally was a certified flop. The album itself was a much more satisfying listen than its predecessor and remains one of Ellis-Bextor’s strongest efforts. Achieving the unison of pop and indie influences much more successfully, ‘Shoot From the Hip’ was a breath of fresh air in a pop industry that was becoming increasingly manufactured. However, between poor sales and lazy reviews for this grower of an album, it fell through the cracks and has remained largely a hidden treasure. (See my review here).
Ellis-Bextor retreated from the limelight, gave birth to her first son and married Richard Jones. It wasn’t until 2007 that Ellis-Bextor returned to the music scene (excepting a collaboration as Mademoiselle E.B. on Busface’s Circle (Just My Good Time) in 2005), with the spiky electro-pop of Catch You. Ellis-Bextor’s third album, ‘Trip The Light Fantastic’ was different again and was by far her ‘pure pop’ moment – no indie leanings on show here. Having moved to Polydor subsidiary Fascination Records, and working with the likes of Xenomania, Greg Kurstin, Liam Howe, Richard Stannard, and Pascal Gabriel, Ellis-Bextor eschewed the kitschy disco-pop of her earlier hits for a more focused, cohesive, yet still energetic pop record.
Trip the Light Fantastic.
Catch You recalls ‘Parallel Lines’ Blondie in it’s spiky guitars and electronic flourishes, while second single Me and My Imagination is a celebratory slice of pure ear-candy. The rest of the album follows suit, with lush ballads (What Have We Started, The Distance Between Us), campy tongue-in-cheek numbers (If I Can’t Dance, Supersonic) and dramatic yet dynamic mid-tempos (Today the Sun’s On Us, If You Go, Can’t Have It All). While on the whole more accessible and less adventurous than its predecessor, ‘Trip…’ managed the very difficult feat of creating a popalbum as opposed to three singles a lot of filler and a nice closer (a la ‘Read My Lips’). Critics finally caught on and gave the album positive reviews and the public re-connected, with the album peaking at #7 on the UK charts and finding success around Europe. However the initial enthusiasm for the album died off and despite a strong debut, things started to unwind and sales faltered not long after. Me and My Imagination underperformed thanks to an iTunes release bungle, and third single Today the Sun’s On Us flopped, failing to be picked up by radio. Ellis-Bextor began another long run of performing to support the album, but promotion died off and then Ellis-Bextor was pregnant again and retreated once more, this time for a shorter period.
Wilderness
Make a Scene.
Not long after giving birth to her second son (literally a couple of days after), Ellis-Bextor was shooting a video for a new track with the Freemasons. The year was 2009, and the song was Heartbreak (Make Me a Dancer), a electronic dance stomper and the beginning of a trend that would pervade Ellis-Bextor’s music for the next three years. Many, many collaborations with various DJs and electronic music producers filled this commerical ‘wilderness’ period. Not that this was always a bad thing – Heartbreak was a great track, a heady mix of electronics, strings, and Ellis-Bextor’s characteristically ‘ice queen’ vocals elevating the track to euphoric heights. Commercially, the collaboration was also a wise move, the Freemasons being the hot act of the time and the single entering the UK top 20 (#13), a welcome return after the disappointing end to the ‘Trip…’ era. Ellis-Bextor was making her fourth album by this time and promised a ‘dancier’ affair, a return to her disco leanings and an opportunity to fully realise her love of dance music (quite the turn around from her days of dismissing house instrumentals!) on a grander scale. Another collaboration appeared, this time with French DJ Junior Caldera, the result being the rather more formulaic dance-by-numbers of Can’t Fight This Feeling (that middle 8 though!), and then there was the long awaited solo single – the official first chapter of album four. Bittersweet, produced by the Freemasons and Biffco, was everything a Sophie Ellis-Bextor electro-pop song should be and more. The response upon it’s debut was extremely positive, and fans and critics alike were impressed by the song’s effortless cool and Ellis-Bextor’s mastery of her craft, however the single stalled at #25 on the UK charts and the album delays began. Despite the album being completed by early 2010, the release date and title kept changing (in the case of the latter, from ‘Make a Scene’ to ‘Straight to the Heart’ and back to ‘Make a Scene’ again) and eventually Ellis-Bextor and her label parted ways.
The album finally surfaced in 2011, under Ellis-Bextor’s own label EBGB’s and unexpectedly became her fourth album to chart within the UK Top 40 (at #33, albeit for one week). The album itself, while containing many a quality song, suffered a little from ‘Read My Lips’ syndrome – that is, many great ideas and too little cohesion. All of the previous singles were on there, along with Not Giving Up On Love, her Armin Van Buuren collaboration, and Starlight the ill-fated, but beautiful final single from the record. The rest of the album varied from leftfield electro-bangers (Make a Scene), to dreamy electro-pop (Magic, Under Your Touch), and closed with two charmingly melancholy mid-tempo numbers (Synchronised, Cut Straight to the Heart). The hodge podge of producers and collaborators meant there was no consistent sound, yet no song was ‘bad’ either (except maybe Homewrecker). Add to that the fact that much of the material was by this time two years old, and ‘Make a Scene’ really felt like a greatest hits with some new songs added on. Ellis-Bextor had another baby (no, I’m serious) and also began a string of rather faceless DJ collaborations, none of which impacted the charts (Beautiful, and the dreadful Fuck With You). Rather serendipitous though was Sophie’s sudden acceptance in Russia, just as the UK seemed to declare they no longer really cared for her. Make a Scene had been successful there, and Sophie found herself making numerous appearances there – why not go where the people love you?
Waltzing Back
Wanderlust.
2013 marked the 15 year anniversary of Ellis-Bextor’s involvement in the music industry. In that time she had carved out a niche as a queen of sophisticated, and slightly left-field electro-pop after emerging from the ashes of the Britpop era. What had begun as quite an unexpected success story was slowly transformed into the very opposite. Throughout, Ellis-Bextor never lost her composure, and despite some cringe-worthy moments of promotion (which in fairness were usually done in the name of charity) and some rather bland musical collaborations (gotta pay those bills I suppose) she never really seemed to lose her foothold in UK popular culture. She quietly continued working independently, and the freedom of not worrying about record sales or release schedules allowed her to relax and create what she wanted to create. Before the next album emerged though, Ellis-Bextor’s fortunes in the UK turned when she was asked to take part in Strictly Come Dancing, one of the UK’s most watched programs, in late 2013. Ellis-Bextor competed nobly, ending up the third runner-up and in the meantime seemingly capturing the UK’s heart as the underdog of the competition. Coincidentally, the end of the competition lined up with the planned release of ‘Wanderlust’, her fifth studio album. Ellis-Bextor could easily have gone down her tried and true path of dance-pop, but in her typically offbeat fashion she instead made the album of her career.
‘Wanderlust’ completely strips back the heavy production of previous albums, relying instead on live instrumentation, strings and vocal harmonies. Composed in two weeks with the assistance of Ed Harcourt, the album has a rustic feel, taking inspiration from Eastern European folk music, waltzes, 60s pop, and movie soundtracks. In fact, cinematic is probably the best adjective for the album, which also contains Ellis-Bextor’s best lyrics to date. Rather than the melancholy of the dancefloor, these songs evoke traditional fables (13 Little Dolls, Love Is a Camera), sparse ballads of love lost and found (Young Blood, When the Storm Has Blown Over), and grand sweeping tales of emotional upheaval (Birth of an Empire, Cry to the Beat of the Band). It is still a pop album at heart though, with Runaway Daydreamer being up there with the best of her hits. Throwbacks to her indie days are also more pronounced on this album, with The Deer & The Wolf sitting well alongside theaudience material. Ellis-Bextor has consistently shown a commitment to changing her sound and her musical direction, however ‘Wanderlust’ represents the biggest creative leap for Sophie to date and hopefully represents a new chapter in her artistic development. While Sophie has already stated that she will go back to dance one day, the positive response to ‘Wanderlust’ (it has debuted at #4 on the UK charts, her second highest career debut) is a good sign for her to continue experimenting. Who knows where her musical journey will take her next.
[Wanderlust is available now from iTunes, Amazon and Sophie’s web store at sophieellisbextor.net. The rest of her catalogue is also readily available from iTunes, Amazon and some record stores. Follow Sophie on Twitter, Facebook, and Instagram.]
Gosh, where does the time go? 2013 has seemingly flown by and as such my ambitious project of charting my Top 30 albums came to a screeching halt nearly half way through. 2013 has also been a year of great albums, and as such it’s likely that my list would look very different now anyway. Therefore, I’m retiring those posts and instead turning to the obligatory end-of-year stuff we bloggers like to do. I Thought I’d do something a bit different than my usual and give some attention to my favourite songs of 2013. Yes, there’s been a plethora of great albums but occasionally (and usually unexpectedly) some one-off songs have also caught my attention and stuck. This year I found myself drawn to big pop songs, much more so than usual, and while there was a lot of dross on the radio, when the big pop stars delivered they really delivered (Beyoncé). So, here goes…
45. James Blake – Retrograde
Bass-heavy, R&B-influenced alternative tunes from white boys was a bit de rigeur in 2013, wasn’t it? (at least on my iPod). Luckily some bloody good songs (like this one) came out of that trend.
44. Chlöe Howl – No Strings
Chlöe Howl should be the new poster girl for ‘pop-with-fuck-off-attitude’, but unfortunately she’s been a bit overlooked this year in favour of Lily Allen’s brand of ‘social commentary’ and P!nk’s formulaic ‘tough girl’ crap.
43. Active Child – Subtle (feat. Mikky Ekko)
See 45, except you can sort of dance to this! Nice to hear Active Child move away from his harp a bit. Also, who is Mikky Ekko and why was he on so many songs this year?
42. Goldfrapp – Drew
No one does ‘lush pop’ quite like Goldfrapp, who always manage to strike a nice balance of ‘ethereal’ and ‘accessible’ without ever sounding pretentious. Not sure if song and music video should every be separated to be honest, they’re both glorious.
41. Ariana Grande – The Way (feat. Mac Miller)
Oh, Ariana you gorgeous (and adorable) creature. Girl is bringing back 90s Mariah Carey-esque R&B/Hip Hop (whistle notes and all) only with a much more likeable persona. This song is the definition of ‘earworm’.
40. Beyoncé – Mine (feat. Drake)
Beyoncé’s absolute slayage of 2013 will go down in the history books for sure, but what made the whole ‘event’ even better was that the music was so fucking good. This is one of the tracks that made me jump on the Beyoncé bandwagon after years of ‘casual’ listening.
39. Jessie Ware – Imagine It Was Us
Jessie Ware has the Midas touch for understated dance tracks and continued the trend with this bonus track from her ‘Gold Edition’ of Devotion. With a distinct 90s vibe, this track goes down well as a late night jam.
38. Blood Orange – You’re Not Good Enough
Blood Orange is the new Prince. His songs are really fucking good. He also produces some amazing tracks for other people (see number 1).
37. Cassie – Paradise (feat. Wiz Khalifa)
Cassie doesn’t seem to be releasing an album proper anytime soon, but with the quality of some of her recent stuff being so top notch (see also: King of Hearts) who really cares?
36. Iron & Wine – Lovers’ Revolution
Iron & Wine’s move to a jazzier sound was more than successful and his 2013 album Ghost on Ghost is an absolute delight to listen to. The key changes alone make this song worth listening to – it just evolves.
35. Justin Timberlake – Mirrors
Justin Timberlake delivered one of the best albums of 2013 with The 20/20 Experience (Part 1, anyway), filled to the brim with longer-than-usual pop gems like this. This is how you do a love song.
34. Daft Punk – Get Lucky (feat. Pharrell)
No doubt one of 2013’s biggest radio hits, this song is just too infectious to not like and eventually I had to come around to it.
33. Ellie Goulding – You My Everything
Ellie was a busy bee the last two years, and she actually managed to better what was already a cohesive and creative album with her deluxe repackaging of Halcyon Days in 2013. This drum-n-bass influenced track was a standout of the new bunch, ’nuff said.
32. Lorde – A World Alone
This song makes me thankful that Lorde is releasing music (along with the rest of her album). Album closers don’t get much better than this.
31. Foals – Inhaler
Basically, Foals decided to just rock the fuck out and the results were glorious. Best band discovery of 2013 for me.
30. Drake – Started From the Bottom
Yes, he was on fucking Degrassi. We get it. Now just listen to the song with it’s glorious beat (and watch Drake dance next to a car) and be done with it.
29. Jewel – Two Hearts Breaking
No one really gave a shit about Jewel returning in 2013 for her greatest hits (not unexpected given the general apathy towards the 90s singer songwriters these days), but that’s ok because she still delivered the perfect blend of her pop, folk, and country sounds in this gem (no pun intended).
28. Miley Cyrus – Wrecking Ball
I don’t like Miley, nor do I really care about the crap she’s done this year (although her twerking will always be a bit of a punch line for me), yet she managed to deliver some amazing pop songs in 2013. So she’s on this list. (Oh, and the video is here in case, you know, you hadn’t seen it…).
27. OneRepublic – Counting Stars
It’s just a great song. That pre-chorus! That middle eight! Nothing really else to say. (PS: Mr. Tedder, you look very awkward trying to ‘rock out’, so maybe don’t do that again.)
26. Sia – Elastic Heart (feat. The Weeknd & Diplo)
Sia tided us over until her new album with her soundtrack contribution for the Catching Fire film. As usual, anything she touches turns to gold, and what could easily just have been noise instead became a great electro-pop track.
25. Skylar Grey – Wear Me Out
No, she doesn’t just sing hooks for Eminem and Dr. Dre. I don’t think Skylar’s album was particularly noticed but it had a lot of great tracks on it, and Wear Me Out was a particular highlight for me.
24. The Civil Wars – Same Old Same Old
I’m still devastated that John Paul and Joy aren’t on speaking terms, but at least they managed to release their second album this year, which was another collection of amazing country-folk-americana ditties. This song gets me. Every. Single. Time.
23. M.I.A. – Bring the Noize
M.I.A. proved she was still the fiercest female in contemporary music with her long-awaited Matangi this year. As usual she gives zero fucks about melody, yet manages to create intense and mesmerising tracks.
22. Sophie Ellis-Bextor – Young Blood
Sophie made a welcome change from disco diva to introspective singer-songwriter, and she pulled it off beautifully as evidenced by Young Blood.
21. Caveman – In The City
Had no idea Julia Stiles was in the video for this until now. Anyway, amazing dream-pop song from New York indie band. Chance discovery when I tuned into alternative radio station one day. So, thank you Triple J!
20. Naughty Boy – La La La (feat. Sam Smith)
I just want to say that I usually watch this video just to see the adorable Chow puppy. That, and this song is fucking immense and hopefully signals a greater move to more drum-n-bass music returning to the charts.
19. Paula Cole – Manitoba
E.P.I.C. No one does dramatic, tumultuous piano-rock like Paula Cole, and she proved she doesn’t need a record label to deliver the goods this year.
18. HAIM – Falling
Oh god I love HAIM. They’re basically Fleetwood Mac for the new millennium (yes, I know Fleetwood Mac are still around) and we really haven’t had a band like that be big for ages.
17. The National – Don’t Swallow The Cap
Will The National ever make a bad album? I hope not, because I’m really rather enjoying being continually slayed by their effortless cool and boundless talent. I have only two emotions/fearful fear and dead devotion is probably my favourite lyric of 2o13, by the way.
16. Sky Ferreira – You’re Not the One
WHY WOULD ANY RECORD COMPANY NOT LET THIS GIRL RELEASE AN ALBUM. LOOK WHAT SHE RELEASED WHEN YOU FINALLY LET HER!!!! GAAAAAHHHHH (#recordcompanypolitics)
15. Phoenix – Entertainment
I do slightly prefer the Blood Orange remix (for obvious reasons if you’re aware of my favourite musical acts) but really the original is such a great example of how to actually do 80s-influenced pop (see also number 16) and therefore deserves it’s place in my top 20.
14. Everything Everything – Cough Cough
Yeah. So. Um. Wait a secon – MIND BLOWN BY AMAZING SONG.
13. Lana Del Rey – Young and Beautiful
Yes, Lana, I will still love you when you’re no longer young and beautiful. So long as you don’t mention a ‘red dress’ or ‘pale moonlight’ in anymore of your songs.
12. Snakadaktal – Hung on Tight
I mean the song’s fucking amazing and everyone needs to experience the eargasm that it is, but I think they deserve kudos for the band name. Genius.
11. James Vincent McMorrow – Cavalier
*Hears it for the first time* *Dies and goes to heaven* (seriously, I think this is what I would want Heaven to sound like).
10. Lissie – Further Away (Romance Police)
This song is so good, yet got so little attention, and therefore is automatically in my top 10. Apart from the fact that I can’t not picture Stevie Nicks singing this, it also convinced me that my life would be incomplete without Lissie. So thanks, Lissie. Here’s hoping you absolutely smash with album number 3.
9. Beyoncé – Drunk In Love (feat. Jay-Z)
Only Beyoncé can get away with making surfboart a legitimate song lyric. Also, this song just makes me want to dance like a fucking lunatic.
8. The Civil Wars – The One That Got Away
You guys really aren’t making the ‘did they? didn’t they?’ rumours any easier to dispel. Just saying… PLEASE GET BACK TOGETHER AND MAKE ANOTHER ALBUM!
7. Justin Timberlake – Tunnel Vision
I know you li- I know you like it-it. Also, the video has lots and lots and lots of naked ladies (it’s tasteful though. Really!).
6. Vance Joy – Emmylou
All I know is that whenever I listen to this song, I want to either grab an acoustic guitar and actually try to learn to play it (I can play approximately zero guitar) or just sing it at the top of my lungs. That to me means a song is really good. So, good job Vance Joy. The song also has an epic key change, which is everything to me.
5. Drake – Hold On, We’re Going Home (feat. Majid Jordan)
Look, I don’t need to say anything about the song because basically it’s amazing and Drake deserves lots of Grammys (and Junos since he’s Canadian) for it. Now, tell me who Majid Jordan is and why he’s got a ‘feat.’ credit.
4. HAIM – If I Could Change Your Mind
Ok, for some reason this song is not on youtube so sorry for the live video, not sure it does the song justice. Also would just like to give major kudos to HAIM for basically blowing everyone trying to do 80s-style mega pop out of the water and still managing to get in with the indie crowd AND sell a truckload of albums while they’re at it.
3. Lorde – Royals
Yes, it was overplayed, but really when a song is this perfect I can deal with that. Lorde makes me feel supremely old (I’m six years older than her), but also restores my faith that contemporary music isn’t completely going to shit. Basically, she saved 2013 from being completely dominated by Miley Cyrus (yes, I know she’s in my list too!).
2. The National – This is the Last Time
Perfection.
1. Mutya Keisha Siobhan – Flatline
The biggest injustice of 2013’s music scene was that Flatline was not a more successful record. While most of the world probably didn’t much care, it was a pretty big deal that these three girls (formerly of Sugababes) were together again and making bloody incredible music. Bloody incredible music that unfortunately fell victim to poor handling and radio play. With Flatline, MKS brought poise, subtlety, and quality control to what could often be a ridiculous (not in a good way) pop scene (e.g., Robin Thicke, Lady Gaga). While MKS really need to stop with the long periods of silence when they feel like it, 2014 will hopefully be a smoother and more successful year for them. In the meantime, bask in the glorious harmonies and effortless pop perfection that is Flatline and worship at the altar of Mutya Keisha Siobhan.
By the mid 90s, the Cardigans had become one of the most ubiquitous bands on radio thanks to their massive hit ‘Lovefool‘ from Baz Luhrmann’s Romeo & Juliet film. Prior to this the Cardigans had been a moderately successful Swedish band, and sugar coated pop with melancholic lyrics was their specialty. However, following the massive success of ‘Lovefool’ and its parent album, The First Band on the Moon, The Cardigans’ sound took a turn down a darker road. Their 1998 album, Gran Turismo, was an experiment in heavier electronic sounds and darker lyrical themes without the almost sarcastic chirpiness that had formed the backbone of their previous albums. After a five year break, their fifth album, Long Gone Before Daylight, was released and marked yet another stylistic shift for the Cardigans. A largely acoustic, folk/country inspired album, Long Gone… saw the band deliver their most ‘straightforward’ release – straightforward in this case meaning no frills attached; a barebones record without any preconceptions. Whereas Gran Turismo at times seemed an obvious attempt to prevent the band being pigeonholed, Long Gone… is less pretentious in its creative differences and is by far The Cardigans’ most accomplished body of work. The pop hooks are still present, such as in the gorgeous ‘For What It’s Worth‘ or the anthemic ‘Live and Learn‘, and the band’s inherent sense of melody and melancholy are very much intact, they’re just not hiding behind so many layers. Just as lead singer Nina Persson changed her hair colour from Nordic blonde to jet black, the band found themselves in more ‘mature’ territory with Long Gone… which lead some critics to accuse them of running from their musical past. On the contrary, the band were wise to stretch their creative wings when they did and Long Gone… isn’t bland enough to be labelled ‘adult contemporary’. The nuances might be subtler, but the lyrics are staggeringly on point, and the album feels like it was made for listening to at twilight. When it rocks, it rocks (see: ‘A Good Horse‘) and then the next moment Persson rips your heart out with her all too close-to-home observations of love and loss (see: ‘Communication‘, ‘Couldn’t Care Less‘, ‘Lead Me Into the Night‘). When Long Gone Before Daylight connects with you it won’t ever leave, and you’ll be so grateful to have it in your collection. A grower but without doubt a keeper.
I interrupt my Top 30 albums countdown for a little post (little being a loose term) to bemoan the criminally overlooked albums of three very talented ladies of British pop. It seems like for every Katy Perry or Lady Gaga success story there is a flipside – record label conflicts, albums being shelved, lasklustre promotion and radio play, flop albums – all ultimately leading to artist being left by the wayside, getting fed up, and pursuing a career in ‘fashion’ or some similar nonsense. Shame then that so many of these artists actually do end up creating rather brilliant songs before it all goes tits up for them. So, the three artists I’ve chosen for this little ‘editorial’ piece are, as mentioned above, British female singer-songwriters, all with a bit of a ‘leftfield’ persuasion to their overall sound (a definition to come), and all of whom have experienced varying degrees of generally shitty situations when it comes to releasing their work.
“I do make difficult, slightly alternative, leftfield pop music…it’s sort of a difficult genre to be in”
1 Baseball the part of the outfield to the left of the batter when facing the pitcher: a high fly to left field.
2 N. Amer. informal a surprising or unconventional position or style: seldom do so many witty touches come out of left field.
• a position of ignorance, error, or confusion: he’s way over in left field on these issues.
adjective
(of artistic work) radical or experimental: left-field guitar-based music.
Siobhan Donaghy, Ghosts (2007) – When ‘leftfield’ pop becomes a certified flop
Above is a definition of the word ‘leftfield’, a favoured adjective used by Siobhan Donaghy to describe her solo records. Her 2007 album Ghosts, which has pretty much been hailed a masterpiece since it’s release, certainly does meet the criteria for being ‘experimental’ (radical might be taking it a bit too far) in the pop genre, although it is an album that wears its influences on its sleeve (the clever ‘Running Up that Hill‘ melodic reference in ‘Medevac‘, the might-as-well-have-sampled-the-original nod to Massive Attack’s ‘Teardrop‘ on ‘Halcyon Days‘, and the Ray of Light-esque ‘Coming Up For Air‘). I’ve been championing Siobhan for a while now on this blog, and the unfortunate and unjustified demise of her second album is one that gets many a pop fan riled up. Had this album come out three years later in the throes of Florence + the Machine, Bat For Lashes, and Goldfrapp domination – i.e. when ‘leftfield’ pop suddenly became a hot ticket again – would it have met a different commercial fate? Some context seems necessary here – Donaghy was a founding member of UK pop group Sugababes, left after the release of their first album which wasn’t as successful as its followup, and then went on to release Revolution In Me an album even more ‘leftfield’ than Ghosts in 2003, and which met an even quicker commercial death thanks to London Records folding. With Ghosts, Donaghy was essentially starting her solo career afresh and while she continued to fight tooth and nail against the inevitable Sugababes baggage, she put on a brave face and did her best to promote an album that just seemed destined for failure.
So, what happened?
The first nail in the coffin: the album was mispressed (apparently a pretty rare occurrence) with an easy listening compilation and sent to record stores before the label found out about the mistake. This resulted in a mass recall of the album stock and then pissed off record stores refusing to shell out more money to get the album stocked again. Not having an album stocked on release is going to hurt sales. As a result Siobhan was sent scrabbling around for any promo she could get (usually shit) where, if she didn’t get to sing, she was inevitably barraged by questions about why she left the aforementioned group. It didn’t help that her label EMI/Parlophone pretty much did nothing to help out during this process. Needless to say, despite the album receiving unanimous critical adulation, it debuted at a disappointing #92 on the UK charts and then disappeared.
And then what?
Siobhan got dropped – despite having another album on her contract – and got a desk job until a fateful day in 2009 when a certain group shed its remaining original member. Four years on, Mutya Keisha Siobhan (aka the original Sugababes) are set to release their album in early 2014 – proof that things come full circle. Let’s hope Siobhan has more success this time around.
Why should I listen to this album then?
Well, I can’t make you, but seriously if you like any of the artists I mentioned above, you’re probably going to like most of this album. An eclectic, yet cohesive blend of electronica and pop influences make for an ambitious album that lives up to its reputation as a forgotten gem. Swooping vocals (occasionally sung backwards), captivating melodies, and incredible lyrics are all on offer, and don’t be scared of by the ‘leftfield’ bit – it’s not exactly Björk at her most difficult, yet it makes Lady Gaga look like a hack all while being incredibly graceful and sophisticated.
Amy Studt, My Paper Made Men (2008) – teen pop star’s transformation into ambitious artist goes relatively unnoticed
In 2003, Amy Studt was a golden girl of UK pop, with four Top 20 singles to her name and an album that was certified Gold. Her debut, False Smiles, was a clever mix of accessible and some not-so-commercial pop and the young Studt seemed poised to become a more viable Fiona Apple. Four years later a second album, My Paper Made Men, was released on a different record label and with a decidedly more experimental sound. The pop hooks of her hit ‘Misfit‘ were only really obvious on the album’s third single ‘Nice Boys‘ (a song Studt confirmed was written purely because the record company wanted an ‘obvious single‘) but even that track was tongue in cheek enough to fit into the wider context of the album. And what an album! If anyone had ridden off Studt as a teen pop one-trick pony in terms of her talent Paper Made Men proved them wrong. Not exactly an album made for radio play, it’s lead single ‘Furniture‘ is a sparse, stark ballad exploring the psychological impact of a stale relationship. Second single ‘Chasing the Light‘, while decidedly more upbeat in sound is also one of Studt’s most tortured vocals creating an interesting juxtaposition. Elsewhere, Fiona Apple, Tori Amos, Alanis Morissette, and Cat Power are channeled to great effect such as on the epic ‘She Walks Beautiful‘, the haunting ‘Here Lies Love‘, or the sly tongue in cheek come on of ‘One Last Cigarette‘.
So, what happened?
Well, honestly I’m not sure. It seems like a combination of poor promotion, lack of radio play, and general indifference to the project as a whole lead to the demise of this album. What could have been marketed as a mature, focused, and experimental return of a successful pop singer was instead stunted by two separate releases (digital in 2008, followed by the physical release in 2009) and a focus on the ‘new’ Amy Studt who really was “exactly the same, just older” as Amy herself so eloquently pointed out. The album was then pulled from digital retailers and the physical CD was being sold for 400 pounds on Amazon.
And then what?
Despite taking time out, Amy has been working on a third album which is due out this year, so hopefully she can match (or even better) the quality of My Paper Made Men.
Why should I listen to this album then?
Again, it’s sort of a case of if you like the obvious influences you’ll probably like most of what’s on offer here. But that shouldn’t be taken as the album being a retread of what’s come before. Paper Made Men is a ‘warm’ record for lack of a better term, and its introspective lyrics combined with the lush production are at once inviting and emotionally stark. Studt never delves into the same territory twice and her exceptional piano playing links the disparate sounds of the record into a cohesive whole.
Alexis Strum, Cocoon (2005) – sometimes the challenge is in actually getting an album released at all
Sure, it’s difficult enough to be a ‘leftfield’ female singer-songwriter in the pop world, but at least Siobhan Donaghy and Amy Studt had opportunity to release their albums. Alexis Strum, a songwriter for acts like Kylie Minogue and Rachel Stevens, was not so lucky, having not one but two albums indefinitely shelved by seemingly delusional record companies. Her first album effort titled Addicted was due for release in 2002 but when the lead single failed to gain traction it became a free for all for other artists to rerecord Strum’s songs. Following a period of self-imposed isolation and exploration in remote Antigua, she wrote and self-produced her second album, Cocoon, an introspective yet relatable album of songs of love, loss, and growth. Eschewing the more conventional pop sounds of her debut effort, Strum opted for arrangements more akin to Kate Bush or Björk in their subtle intimacy and melancholic feel. As is typically the case with such projects, record company involvement lead to the recording of a ‘single’, the divine ‘Bad Haircut‘ and when that didn’t get radio play ‘It Could Be You‘ became contender for a hit and did no better. Sure, the choice of singles probably wasn’t going to lead to massive success (2005 being dominated by the likes of Kelly Clarkson in the pop charts and Kelly Clarkson this ain’t) but to give up on artist so readily, particularly one with such obvious talent, is slightly disconcerting and very confusing.
So, what happened?
Cocoon was set to be released through Mercury Records, however they proved to be yet another label intent on shooting themselves in the foot. The album was repeatedly released to digital outlets and subsequently withdrawn due to the release being mistaken on both occasions. With the lack of interest shown by radio the label were convinced the project would be unsuccessful and eventually shelved it completely. Even today the release situation of the whole thing is undecided. It was technically never released, yet can be bought from certain digital outlets in the UK. Otherwise, you have to do what I did and purchase a promo copy from eBay. Amongst the chaos of the ‘release’, Strum became ill requiring surgery and ultimately choosing to abandon the project (probably not a bad move by that point) and depart from the label after re-evaluating her life goals.
And then what?
Well, as of now Strum is focused on acting, so nothing on the musical front. Given her shit experience with the music business, it’s really no wonder. With the advent of Kickstarter though there’s no reason a talented singer-songwriter can’t do a modest release of an independent crowd-funded album.
Why should I listen to this album then?
Because it’s bloody good, and given it’s ‘unreleased’ status has a mystique of ‘What if…?’ about it. Had the album been given a decent opportunity to build steam and potentially become a sleeper hit, Strum could well be still making records (health issues aside). Nevertheless, Cocoon is worth tracking down for the strength of its tracks, subtle explorations of human emotion thanks to Strum’s lyrical skill. The album sounds rather cocooned (I had to) in its warm, subtle instrumentation and string arrangements and songs such as ‘World Without Your Love‘, ‘Cocoon’ and ‘Long Way Home‘ are glorious examples of this. Also, random, but she looks like Siobhan Donaghy so that’s like double the amazingness surely.
Gotye’s meteoric rise from obscure Australian indie act to phenomenally successful (critically and commercially) worldwide act was seemingly most unexpected by Gotye himself. When ‘Somebody That I Used to Know‘, the lead single off Making Mirrors, suddenly went viral and began climbing the charts all over the world, it’s parent album naturally followed suit and what began as a humble experiment by a left field artist to create a more ‘pop’ sound in his work became a massive success story. The move towards a more accessible sound only increased the quality of what Gotye had to offer and Making Mirrors as a result is his most satisfying and cohesive record to date. Yes, the aforementioned single was probably played to death by radio stations around the globe, but who can deny the sheer perfection of the song itself – gorgeous harmonies, a simple sing-a-long melody, songs that any person could relate to – and the rest of the album doesn’t fail to live up the expectations set by ‘Somebody…’. While most of Mirrors is in the Peter Gabriel-ish art-pop style it never feels pretentious or over-the-top (with the exception of ‘State of the Art‘ a song about an organ complete with vocodered vocal effects). The album feels a bit like a pop continuum contained in one record, with the more left-field moments (‘Smoke and Mirrors‘, ‘State of the Art’, ‘Eyes Wide Open‘) co-existing with the more radio-friendly tracks (‘Save Me‘, ‘I Feel Better‘). Gotye’s signature sampling, looping and general studio wizardry is not as overt as previous albums, but is woven into the fabric of these songs and creates a unique juxtaposition between organic instrumentation and sampled tracks. Listening, it’s clear that Gotye never intended Making Mirrors to be the success it has become, yet it’s hard to believe it never would have been a hit when it is such an immediately captivating listen and an excellent bridge between leftfield art pop and more commercial music.
Lana Del Rey is an odd figure in today’s pop music scene. Not quite ‘pop’ enough to fall in with the Katy Perrys and Rihannas, not quite alternative enough to sit on the left side of the pop spectrum with Bjork or Lykke Li, and while her rise has been adjacent to that of Adele’s and Emeli Sande’s, she isn’t as boring as either of them. Instead, Lana Del Rey seems destined to carve out a niche and fill it quite well, and if the response to her major label debut Born to Die is anything to go by, she’ll be a polarising figure in music for years to come. Upon first listen, Born to Die is all chiaroscuro, retro chic – both in its lyrical content (50s Hollywood icons, tragic love stories, longing for the American ‘Dream’) and its sound (heavy string arrangements, hip hop beats, and samples). Variety may be the spice of life, yet Del Rey has chosen a consistent approach for Born to Die, and while the overall sound of the tracks isn’t radically different there is a definite shift in mood from something like ‘Diet Mountain Dew’ to ‘Carmen’ that makes the listen captivating enough. Vocally, Del Rey falls somewhere between Marilyn Monroe and Toni Childs, fluctuating between girlish coo (‘Off to the Races‘), to full-blown jazz starlet (‘Million Dollar Man‘), to smoky alto (‘Born to Die‘). What raises this album above being mediocre is the conviction behind the songs. Del Rey gives her everything on ‘Video Games‘ and as a result it’s no wonder it became the viral hit it did. Straightforward lyrics ambiguously detailing a relationship that may or may not be falling apart, Del Rey pours herself into the song’s character, giving it a voice that is at once desperately in love and heartbroken beyond repair. Similarly, on ‘Blue Jeans‘, Del Rey prevents the song from becoming a typical girl-pines-for-boy love song in her heartwrenching delivery that conveys a manic desperation to stop the love of her life from heading down a dangerous path by offering all of herself. For me, Born to Die is a breath of fresh air in what is often a stale and repetitive popular music scene. Sure, Del Rey is not always completely original in her compositions, and yes it would be nice to hear some more lyrical variety on her next project, but until the charts become populated with Del Rey clones (it’ll happen) Born to Die will stand as a record that dared to bring something different to the pop table.
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Above is a definition of the word ‘leftfield’, a favoured adjective used by Siobhan Donaghy to describe her solo records. Her 2007 album Ghosts, which has pretty much been hailed a masterpiece since it’s release, certainly does meet the criteria for being ‘experimental’ (radical might be taking it a bit too far) in the pop genre, although it is an album that wears its influences on its sleeve (the clever ‘
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