Taking stock of 2018

4 months. I am slightly embarrassed to admit that it has been nearly 4 months since my last proper blog post. So I thought it was time to rectify that, and take stock on what I have been doing this year.

Last year I said that 2017 had been the most important year for me creatively to date, and I have certainly built on that this year. Writing new songs, putting on live shows, working on a new album, my new podcast series, About Last Night and of course, dipping my toe in the fashion industry and working on brand strategy for Amanda Thompson Couture.

I continue to be clearer day on day on what I want to do, be and achieve as an artist both musically and in a wider creative sense. And that clarity is something I am unbelievably appreciative of.

But the biggest headline for 2018 has been one of personal growth. In fact, I might go even further, and say that it is possible this year I have experienced more personal growth than ever before. For me this is massive, because everything I do as an artist and creative hinges on what’s inside me, and how I feel.

Emotion and connection continue to be my primary drivers. But, this year I feel I have finally gained the ability to be a little more discerning about how I want to spend my time and not being scared to release things that do not serve me anymore.

And though for years I have described myself as adopting a “fly by the seat of my pants” methodology to life I have started being more structured in the way I approach things. This is definitely paying dividends, especially as for the first time in a long time, I have three very distinct areas to balance in my working life: my music, my podcasts and working with Amanda Thompson, which I do twice a week.

Many people are intrigued by this new venture. And it is funny how things turn out. For a few years now, I have really wanted to be involved in fashion – but like most industries it is really hard to break into them without any direct experience, and coupled with the fact that I wanted to do this later in life…. Well, let’s just say it wasn’t proving to be straightforward.

In case you don’t know, Amanda Thompson is a self-taught fashion designer. She is an incredible talent; and creates timeless pieces from the most exquisite fabrics and the fact that she has invited me to work on her brand with her, with such generosity of heart – is really humbling. What’s even better is we seem to complement each other pretty well. For me, it is exceptionally gratifying to share someone else’s creative journey and use my skill sets in a different way, and the fact that Amanda is a gorgeous human being makes this journey all the more sweet. As for my music - it continues to be my lifeblood.

At the moment, I am working with producer James McMillan, on a project that takes me back to my love of musical theatre and jazz. What is great about working with James is it’s both stimulating and challenging too; and he is pushing me in a way that I don’t think I have ever been pushed in the studio. I cannot wait to share this album with you in 2019. I think it is going to be really quite different from anything I have done before.

And finally my podcast series. This is something that has been in my head for years – I think I may be a closet talk show host (!) My guests have made this project a triumph and a joy for me. I thank each and every one of them.

So in a nutshell, that’s my year. This year more than ever I have learnt to accept and honour my past and the decisions I have made, look forward to the future – but above all enjoy the now. That is definitely new this year.

It has just occurred to me that where I am both personally and professionally is vastly different to where I thought I might be when I was younger. But I am also realising that there is no limit to discovery and finding joy in the present moment and feeding it into every area of my life. 

About last night – the Slipknot gig.

Ok this is going to be short and sweet, because as we all know I am not a metal aficionado.Last night I went to Alexandra Palace in North London to see Slipknot. Although I was born north of the river, I now live in SW London so I had forgotten what a great venue “Ally Pally” is, as I haven’t been for a while. And the view of London as you walk up the hill from the station is breathtaking.

So first things first, I was slightly apprehensive as I thought maybe the vibe would be a little aggressive to suit the mood of the music, but actually no. Part of me was a little disappointed. Of course there were hoards of people in heavy metal T shirts and black leather; and the tattoos and piercings were rife – but I guess they are in every day life anyway, so that was hardly a news flash.

Everyone seemed lovely and friendly – in fact I would say the atmosphere was quite jolly!I didn’t catch the support act. But as I waited for Slipknot to arrive, David Bowie’s “Ashes to Ashes” was blasted out of the speakers - I liked that very much.

When Slipknot came on – the audience just came together – didn’t matter how “hardcore” or “ordinary” they looked – they were as one. There was a lot of nodding, some jostling and screaming of the lyrics around me – which was great – I did feel bad that I didn’t know any lyrics except for “Snuff” which they didn’t play.

It was loud and chaotic but pretty enthralling. I loved the rotating drum kits on either side of stage and the fact that whenever you are at a big live gig the drums just course through your veins from the ground up.

I only really knew Dead Memories and Psychosocial as I have the “All hope is gone” album but I did enjoy myself.

I heard riffs and melodic references I recognized, I loved the rhythm section and Corey Taylor works the crowd effortlessly.

The stereotypes of the constant swearing (which I found quite amusing) and the often ugly/disgusting imagery on the video screens didn’t add anything in my opinion, but maybe that’s what’s expected and obviously part of the image. I don’t like their masks at all, but I’m guessing there must be reason? Maybe I should Google…Not sure I would swap my jazz and MOR gigs for heavy metal just yet, but I would definitely go again.  

He Drives Me Crazy - My brand new video!

My brand new video is out now! It's for my cover of The Fine Young Cannibals classic She Drives Me Crazy. Come have a look...We wanted to keep the whole theme very 80's - not just musically but with the fashion and video style as well - I hope you like it, please do let me know what you think!

Don't forget, if you want to stay up to date with my various projects you can sign up to my mailing list by clicking here.

Is it wrong to look back for inspiration? And where do you find it?

On Sunday I wrote that sometimes looking back can be very beneficial. I know for me I have learnt my biggest lessons by looking back at past events and processing them. Not dwelling is the key, though this is easier said than done sometimes...I find the past often holds many keys for inspiration too. The same memory can evoke a multitude of creative seeds that turn into, well for me, lyrics. For instance, the lyrics I wrote just after my father passed away 11 years ago were really dark and tortured, my sorrow literally spilled out onto the page, and now I find it quite hard to read those words back.

As time moved forwards as it does relentlessly, my emotions weren’t so raw and my focus changed and recently I wrote some lyrics with my dad in mind that were positive and hopeful.Words have always had a hold on me – especially poetry and lyrics more so than prose. I have always liked the imagery that that poems and songs create in my head. Songs particularly made me feel things in an extremely visceral way.Poetry and lyrics have also enabled me to say things, express things that I don’t know I would have been able to otherwise.

I suppose that’s why I was keen to delve into my history and past musical loves for my most recent project. My covers album, which is in the final stages and I will be sharing with you shortly is a piece of my past and picking the songs was like rifling through an old treasure chest. The songs I have chosen are particularly evocative and have been waiting for a while in my head as a potent source of expression and inspiration.

Of course, the melodies and the lyrics are set in stone, a snapshot of time - 1978-1988. But I ‘m hoping that though the start of my inspiration was in past, it has been blended with new inspirations and creativity from me, my wonderful band and producers.

My goal is, we have created something that gives a respectful nod to the past mixed with a lot of contemporary and original references…so fingers crossed!

A quick word about inspiration in general…for me it’s everywhere. I am one of those annoying people - constantly writing stuff down – key words/phrases/singing melody lines into my phone. And maybe surprisingly as it is hard to get me to be quiet (!) silence triggers a lot of inspiration for me. Oh, and the shower. Once I got out of the shower five times to write different sections of a song.

Without doubt though, I find inspiration more easily when I’m not looking for it. When I have to write a song or some lyrics or a post and I’m under time pressure – my brain short circuits!

So, I would love to know where you find inspiration, do you step back in time or are you a leave the past in the past kind of person?

An exciting musical announcement...

I'm very excited to announce that I have a brand new musical project on the way!

I've been recording an album of covers of songs ranging from 1978-88 with a wonderful band of exceptionally talented musicians. I can't wait to share it with you.

Check out my vlog for more info...

When musical tastes differ…

Lately, I’ve been thinking about differing tastes in music. On the face of it, this isn’t a contentious subject. Music is very personal and subjective.

But I have come up against two areas of resistance that have me wonder…are some us a little tunnel-visioned when it comes to musical likes and dislikes?

I like to think I am pretty open minded, certainly when is comes to most music. To me, music is classical, jazz, rap, pop, rock, and opera, to name a few.

I guess part of it may be we often immerse ourselves in one sort of music early on or maybe the bands associated with a formative decade in our lives and we stick with that, because that’s what we know.

But I find it really confusing when someone says they don’t like a particular kind of music without really listening to it. After all you don’t really know if you like something unless you try it …So back to the areas of resistance I have experienced recently. I don’t really like to make sweeping generalizations but a number of friends who are mothers HATE rap.The capitals here are warranted - they literally won’t listen to it and if I talk about it they won’t tolerate the conversation! It’s the funniest thing!

I wonder if it’s the image associated with rap, rather than the actual music, or maybe it’s a bit of both? I love rap and am transfixed when I hear a great rapper, wishing secretly that I could do it… although I’ve never tried, so maybe…anyway, certain “mother” mates won’t be swayed.

The other people resistant to listening to different music are perhaps predictably my kids.

Last week, I unusually had both my kids in the car; I think we were all off to the dentist or something. Anyway, we drove off and I switched on my music.

Before we were ten seconds into the intro I was bombarded with a chorus of “No way! We’re not listening to that! Your music is rubbish!”

Firstly, let me reassure you that my playlists are not rubbish (!) and maybe using my kids as an example is not great here, because in my experience children go from loving every song you play them to dismissing everything you listen to.

Anyway let’s keep going with the example.

When pushed they couldn’t tell me why they didn’t like what was playing, so after a bit of “to-ing” and “fro-ing” I decided to give in and turned the radio on - and well, I can’t bring myself to say the name of the “band” that came on.

But let’s just say if I hadn’t such given a long impassioned speech about being broad minded about different musical styles, the radio would have been turned off before this particular girl band started “singing”.

Now, you may be thinking, “Aha!’ I do exactly what I am accusing others of doing. My get out clause here is I have heard quite a lot of …“manufactured pop” and my point is that some people don’t give certain genres a try at all.

Personally, I feel it is far too easy to listen to the music we already like, without exploring and giving other untapped genres a chance …there is a lot of good music out there. So, what about you? Are you adventurous with your music or do you stick to what you know? PS: And as far as my kids are concerned, if they could just get over listening to the same things as their mother, they might actually like some of things on my playlists…    

The importance of really listening

Last week I was wondering where I would go with my next music type post, as I always have a few ideas bubbling away, but a few things over the week have made it really obvious. So here we go - listening...

On the weekend I read a post by friend and guitarist, James Stelling. James has a blog, with a mate of his, called “Are You Guitared?” (http://areyouguitarded.com). Well worth a look if you play guitar and are interested in tips and useful info.Anyway, their latest post inspired me: (http://areyouguitarded.com/guitar/how-to-use-a-teacher/). It outlines how best to use your (guitar) teacher as a resource and make the most of your lessons - but the bit that made me sit up and pay attention was the section about active listening.

This really struck a chord with me, as earlier this week I met up with a mate to discuss a new project.

My listening varies a lot depending on what I am working on. And as James mentions in his post, I’m not talking about listening to music in the background, I mean giving what you are listening to your undivided attention.

Whenever I am working on a project I try to soak up as much as I can to help me on those particular songs that make up a set list or album or whatever.

Songs that will compliment what I am trying to achieve, and songs that are so juxtaposed to what I want to do. I try to cover as much material as possible – old/new/differing styles.

The other thing that occurred to me when I read James’ blog is that I when I do listen actively, I mainly listen as a singer. I do listen to grooves, bass lines, chord progressions but that is secondary to vocal delivery and intent. And whilst that is maybe obvious, it was an important note to myself - not to listen as a singer but as an instrumentalist.

In many instances over the years, I have played songs to musicians I am working with and ask them what they think. 98% of the time they will say they weren’t listening to the melody or the lyrics. I learned early on that this was not an insult to the singer on the track, just an indication of how they listen.

The interesting thing about the potential project I mentioned – the one I am being suitably vague about because it is in its embryonic phase - is that we are coming from completely different areas of expertise and experience. We want to create something that neither would think of doing as a solo artist.

So, having brainstormed like crazy for an afternoon we are now starting to bombard each other with as many musical references as possible to lead to a potential sound. Totally unstructured and unscripted but really exciting, and it has been a very long time since I have discovered so many new artists in such a short space of time.

Of course, I have to remind myself that I am not just listening for enjoyment’s sake, I am listening to pick out certain threads. But the joy of music is if I get lost in “just” listening, I can always hit rewind.

And what I am loving is there is so much great music out there to soak up that is new to me …so if you have any track or artist recommendations that you think I may not have heard but might like, please feel free to get in touch. Happy listening!     

Jazz and me and the LPO

I find life very funny. A couple of weeks ago, I posted a piece about where I am with Jazz and the fact that my musical journey as taken me down a different route recently. I felt very happy with my account of things and appreciative of what I have done and where I am going.

Then last week at short notice I was asked to sing some Jazz tunes at a fundraising Gala for the London Philharmonic Orchestra (LPO).A couple of things about this evening, I was contacted for the gig by an old mate, Gwilym Simcock. If you are unfamiliar with Gwilym’s work you must check it out and be prepared to be astounded. He is a stellar pianist.

Early on in my professional career I met Gwilym and was lucky enough to record an album with him. Life takes people down different paths and we lost touch, so I was delighted to get the call.

A side bar here is that although I seem to run my life in a rather haphazard fashion I have been incredibly lucky to connect with truly superlative musicians - for the best part of a decade I have done countless gigs with the incredible pianist John Crawford and latterly worked with guitarist Francesco Lo Castro. Of course there have been other pianists, guitarists, bassists and drummers, too many to name check, but let’s just say I have been very spoilt to be surrounded by such talent and musicianship.

Anyway back to the LPO event, we met for rehearsal and sound check and it was then I remembered the other thing I love about Jazz. To me, more than any genre it is about a musical conversation between the musicians. No two verses or choruses are the exactly the same ever and in a few bars the intention and intensity can change completely from what was “planned”, more so than in pop or classical music, where, for me, a performance is more exact.

If you caught me on Instagram or Twitter on the way home from the gig, you will have cottoned on to the fact that I had a ball and not only am chomping at the bit to perform more Jazz now, alongside my other projects, but I realized how much I have missed performing, so this will also hopefully be rectified after the summer.

I wanted to mention the LPO too (http://www.lpo.org.uk/). Throughout my school life I was lucky enough to be involved in a lot of classical music concerts, in various choirs. Highlights were singing at St Paul’s Cathedral, and at the Royal Festival Hall with the Bach Choir and the Royal Philharmonic Orchestra.

The LPO, are a magnificent example of a group of people who are passionate and invested in everything they do. Musicians and staff alike reminded me of the best memories of my classical music life. And this is probably obvious but they sound wonderful.

I suppose life has reminded me again that I really do adore all genres of music and it is all out there to take part in. Music for me, really is the food of love…how about you?

The gift of good teaching

So, on Friday I was rehearsing for my recording sessions later this month for my covers album. I managed to organise some studio time and some one to one teaching with Jenny May (expressivevoice.co.uk), my current vocal coach.

Jenny to me is an example of an incredible teacher. And I have been lucky enough to have a few. Having sung professionally for many years, I thought I had a pretty good handle on my voice and what I could do, and then I had a lesson with Jenny.

Her knowledge is incredibly extensive. After assessing where you are vocally, Jenny gets you to hit notes and achieve tone you didn’t know you could. She finds the exact exercises and techniques that work for your voice and teaches you to use these skills in a totally authentic way for you as an artist, enabling you to take your performance to where you want it to go.

Needless to say I am always on a total high after my sessions with Jenny and Friday was no exception. This got me thinking about the other vocal coaches I have had as an adult, and how grateful I am to them for the generosity with which they give their knowledge.

Before Jenny, I worked with Susan Blair, who is technically amazing. I met Susan when I started my foray into pop. Her CV of clients like Jenny’s is crazily impressive.

Before that Mark Hayden. An opera singer in his day, his methods were very traditional and he did make me sing opera; something I hadn’t done since school, but the richness of tone he managed to get me to access was something. Mark sadly passed away a number of years ago – he was a wonderful man.

And when I decided to get back to singing Jazz after I had my kids, I found Karen Lane and Anita Wardell. Both great jazz singers and vocal coaches.

I am a firm believer that people come into your life for a reason - good or bad - and I found these teachers at exactly the time I needed them and my experiences with all of them were positive and unique.

The thing they all have in common is not musicianship, or what they have studied - it is they truly love to teach.

And this is where I fall down a little. I love helping people - full stop. It doesn’t have to be musically or vocally related, but it can be. Friends who are singers will sometimes ask for pointers and I happily suggest exercises and different approaches.

But I would much rather just help, give advice as a friend; and as a singer I would rather be writing, exploring, performing or recording…that intangible passion a true teacher has is just not in me, not to the same extent.

I have been reminded recently that the more you learn, the more there is to learn. And I love to learn. Maybe one day I will be ready to impart knowledge, but I don't think I'm there yet. But never say never...      

Jazz and me

 People often ask me these days whether I have made a conscious move away from Jazz. It’s not that I have closed the door at all, it’s just at the moment, my journey is taking me down a different route, and whilst Jazz was my first proper musical love, I do like to try new things and right now that means new genres with new friends and colleagues.

Last week, however, I was asked to do a corporate jazz gig in the summer– toe-tapping standards will be the order of the day. This will be the first in over a year so obviously I jump at the chance to perform as it feels kind of strange not to as a singer, especially for such a prolonged period.

In preparation for the gig, I started leafing through my files of charts; looking at what I used to sing on a regular basis and which songs I was still drawn to. It was like a trip down memory lane, discovering songs I haven’t sung for a while is a bit like getting a phone call from an old friend.

Very quickly I remembered why I love the songs I first learnt in my early teens and why I have spent the best part of the last decade singing them.

I know a lot of people think of jazz as intellectual music, clever and elitist even and I suppose there is an element of that. After all there are a plethora of incredibly well schooled, talented musicians out there and to watch them groove and improvise can be breathtaking.

But for me, jazz is often about stating a song, even if it not sung. It’s about simplicity, timing, space, phrasing and emotion.

Maybe predictably as a singer I am especially drawn to the songs that are melancholic; the lyrics that walk the line between honesty and escapism. And there are many Jazz standards that fill these criteria.

I think there is a reason many of us, not just angst ridden singers love a song about heart break, it’s something we can all identify with - and the poignancy of a sorrowful lyric with a sweet melody is something jazz does beautifully.

So I was thinking about an example to typify what I personally love about Jazz music.

First I thought of an old recording of Billie Holiday singing, “Until the Real Thing Comes Along” or something like King Pleasure’s “I’m in the mood for love”. But I wanted to share something that shows the restraint of Jazz, that I adore, performed by a true master, so this seemed an obvious choice. Here is Shirley Horn singing, “Here’s to Life”. I hope you enjoy x

The power of a song

So true to "Parry" form, I am switching things around today. So often, I write something ready to post, and then I am compelled to post something else.

Last night I caught up on the season 4 finale of Scandal - have I mentioned how much I love Olivia Pope and am a huge fan of Shonda Rimes' writing? I'm pretty sure I have tweeted this once or twice...

Anyway, interestingly, there wasn't a cliffhanger, or a disaster in the closing moments; it was quite a hopeful conclusion. I won't go into details in case you haven't watched it yet, or don't watch it...in which case I may slightly boring you (!)The purpose of this post is actually musical. For a few years now TV programmes have been using well-known songs to incredible effect as background for certain scenes.

In fact, I think, Grey's Anatomy, another Shonda Rimes' show led the way with pop song covers - mainly from the 80s. I think this is how I discovered Sleeping at Last and where I got the inspiration for my own covers project.

And whilst I love hearing original scores written for film and TV, and no one can refute the power of a piece of music alongside a particular scene; when we know a song, we connect with it in a completely different way, and if it is a version we are unfamiliar with it can evoke a number of different emotions especially when married with certain visuals.

Anyway, back to the closing minutes Season 4 of Scandal. This scene was coupled with the incredible tone of Nina Simone singing, "Here comes the sun". It is fair to say, I have not heard anything by Nina Simone I haven't adored. It’s the timbre of her voice, the emotion that oozes from every line - not too much, not too little  - just enough. And don't get me started on her sublime piano playing...So here it is. To me it is hopeful with a tinge of melancholy - something Nina Simone does so effortlessly. Enjoy x 

The best songs ever written are…

I think this a never-ending sentence. For every song we can be disparaging about, there are many more that are spectacular, in our own opinion.

I know I have done a few “top ten” posts over the last week but don’t worry there’s not another list coming because my list would be endless. Could you really limit yourself to your top ten or even top 100 best songs of all time?

Indulge me for a minute here. For me songs are kinda like a bottle of wine, in the sense that it is subjective. In the way a particular grape or vintage may not suit everyone’s tastes, music is the same…Not sure why I have wine on the brain, but my point is whilst they may be some songs that are unequivocally the “best” in many people’s view – the criteria on which I judge a song and deem it to be the best and your criteria may not be the same.

Of course there are killer melodies and arrangements, clever chord progressions, really simple chord progressions, beautiful lyrics and stunning vocal deliveries, but often we don’t dissect all that when we listen to a song. I tap into the rush of emotion that a song I love evokes; this is what the best songs create, in my opinion. But I suppose all these factors and more add up to a song standing the test of time and being regarded as amongst the best.

It probably won’t surprise you that when I Googled “best songs ever written” there are many, many lists covering different genres, decades, everything really.

Last year NME compiled their 500 greatest songs of all time (http://www.nme.com/photos/the-500-greatest-songs-of-all-time-100-1/330996). A quick scan of this list and a few other listings on the net showed a few repeat entries – Michael Jackson’s, “Billie Jean”, Nirvana’s “Smells like Teen Spirit” and The Beach Boys’ “Good Vibrations” to name a few. I’m certainly not going to quibble here, as I love all three songs.

According to NME, the list was compiled from their writers past and present, where each individual was asked to submit a list of their top 50 songs and all these lists were collated. I guess here we get the “expert” view and we can argue over whether we agree or not. I’m sure there are other lists are complied looking at record sales/chart positions.

There’s a Rolling Stone’s “500 Greatest songs of all time” published in 2004, which lists its top ten as: 

1. Bob Dylan - Like a Rolling Stone

2. The Rolling Stones – I can’t get no satisfaction

3. John Lennon – Imagine

4. Marvin Gaye – What’s Going on

5. Aretha Franklin – Respect

6. The Beach Boys – Good Vibrations

7. Chuck Berry – Johnny B Goode

8. The Beatles – Hey Jude

9. Nirvana _ Smells like Teen Spirit

10. Ray Charles – What I’d say

 I come back to subjectivity; to me there are just too many incredible songs that I would consider to be the best, for many different reasons.I almost succumbed to writing a list, but I am going to stop myself. Instead I’ll ask this - which songs would make it onto your “best songs ever written” list? And is “best” the same as “favourite”? How do you judge?   

My top ten favourite male vocalists of all time

On Tuesday, I posted my top ten favourite female vocalists of all time.

All week, I have been thinking about this "male" list and interestingly it has been a much harder list to compile.

I think maybe because I listen to male and female singers in very different ways. I certainly wouldn't compare myself to anyone on my top ten female singers list but if they sing a song in a similar key to me, I do tap into their sound colours and vocal delivery in a way that I just wouldn't if I were listening to a male singer. If nothing else, for me as a singer it is a great learning tool to adapt and recreate sounds and textures that a female singer I revere uses. Often, I can't do this in the same way when listening to a male singer, unless they sing in a register similar to me.

I have also realised that I find it harder to separate out the performer  from the voice when it comes to a male singer and I have no idea why. I had hoped that as I type it would come to me, but no.So here they are, in no particular order:

Tom Waits:

Johnny Cash:

Stevie Wonder:

Freddie Mercury:

Prince:

Michael Jackson:

Otis Redding:

Jeff Buckley:

Bruno Mars: 

Adam Lambert: 

Now this is a pretty formidable list. Amazing, gorgeous voices - with depth, range and richness. But I could pretty much do another list and on it would be: Leonard Cohen, Smokey Robinson, James Taylor, Bob Dylan, Chet Baker, Billy Joel, Elvis Presley and Corey Taylor.

I do find this list thing very hard, maybe it is committing it to writing that I find difficult?! Anyway, maybe I'll do a "Part Two" sometime.

You were kind enough to share your thoughts on the female singers list, let me know if you agree with my choices or not. Who would be on your list?

My top ten favourite female vocalists of all time

Under slight duress I decided to compile a list of my favourite singers. If you know me at all, you will know I’m not a fan of saying this is my favourite anything – not because I’m fickle, as I don’t think I am…but I like to reserve the right to change my mind! I think there is a subtle distinction here...

Anyway, yesterday, this started out as my top five favourite singers of all time, but I couldn’t limit myself. So I changed it to my top ten - my blog, my rules I guess?!

So, in no particular order, here’s my list:

1. Judy Garland:

2. Barbra Streisand:

3. Whitney Houston:

4. Annie Lennox:

5. Aretha Franklin:

6. Nina Simone:

7. Nancy Wilson:

8. Clare Bowen:

9. Megan Hilty:

10. Pink

 And whilst I am not going to critique each singer, as there are/were incredible in my opinion and I really don’t think it is my place to do so; the good thing about putting this list together it is has clarified in broad terms what I like and why I like it.

All these women have big voices and amazing ranges. But I think the thing that ties them all together is their beautiful rich tones; this is something I adore. Looking at this list, puts a huge smile on my face, I could listen to these amazing vocalists all day and all night.

There are of course exceptions to the "big voice thing" – I love hearing the effortlessness and intimacy of Norah Jones, the emotion and mastery of Joni Mitchell....Chrissie Hynde’s voice is so unique and characterful as is Cyndi Lauper’s – who actually has a huge voice too... See, this is why I don’t favour lists!?

I am pretty sure, someone I know well, will say, ”I can’t believe you missed off "so and so", and I am trying to rack my brains before I post, to check I haven’t. But, if you think I have, please tell me. And tell me what you think. If you made a list who would be in your top ten?       

What do you think if an artist you love records covers?

 Covers can be a contentious subject. Is a cop out? Should an artist only perform original songs? Are you a lesser artist if you don’t write your own material? Can of worms, right here…A lot of artists or musicians can be quite disparaging of covers. But I think it all comes down to choice, and by that I mean the choice of repertoire.

This is something at the forefront of my mind right now, as I am currently working on my own covers project. It started out as an EP and is turning into an album and I have to say I am really enjoying the process.

I love the covers I have picked, obviously. They mean a lot to me, I never pick repertoire that I don’t connect with. I am hoping they are innovative enough to sound fresh and new, with a respectful nod to the artist or band and time in which they originally sit.

I learned very quickly in my Jazz gig days that the best songs I sang were the ones I connected with. There are so many beautiful songs out there, but if I didn’t relate to them lyrically or melodically, how could I sing them credibly to you, and make you believe me?

And I think that’s the point. Singing covers in my view is just another way of expressing yourself and presenting your creative vision. Covers to me are a bit like a performance of a play, the text can be read in a number of ways and if executed with thought and intention the result can be wonderful, and as valid as the original.

The cover that springs to mind here is Adele’s, “Make you feel my love”. Written and originally recorded by Bob Dylan, Adele has done a beautiful job of this song in my opinion and I feel made Bob Dylan much more accessible to a generation who is unfamiliar with his work, which is a great thing. One of my favourite covers is Tori Amos’ version of the Boomtown Rats’, “I don’t like Mondays”, well worth a listen, if you haven’t heard it.

What is interesting though is I feel there are some songs that can’t be “made your own” to use that dreadful X factor phrase. You can state them, as they are heart-stoppingly beautiful but they can’t be tampered with, or stray too far from the original concept. Joni Mitchell’s “Both sides now” and “17” by Janis Ian come to mind. But hey, if you know a really different version of either of these songs please let me know.

Personally I feel covers have their place; they are a great way of instantly connecting with an audience who doesn’t know you. I love hearing artists I admire sing covers and often get inspired with what they have done. So what do you think – yes or no to covers?         

What was the most influential year for music according to you?

So, yesterday there was an interesting article on the BBC news website called “Pop music marked by three revolutions in 50 years” written by Rebecca Morelle. It got me thinking about whether I could remember a time, a year, in conjunction with a band or a song that changed everything for me, when music went from a mere pleasure to a total passion.

The article outlines a study, purely scientific, which was carried out by a team from Queen Mary University of London and Imperial College London, who looked at more than 17,000 songs from the US Billboard Hot 100, analysing the evolution of pop music from 1960 to 2010.The research found three years to be particularly significant. 1964 when there was an increased influx of British bands like the Beatles and the Rolling Stones into the industry introducing a new rockier sound, as the jazz and blues harmonies started to fade from contemporary music. 1983, when new technology led the way – electronic music was born with the aid of synthesisers, samplers and drum machines and lastly 1991, when rap and hip-hop became mainstream.1983 definitely resonates for me. But would I say it was the most influential year for music in my opinion? Well, it’s definitely up there. The 1980s were a really important time for my musical journey. I was immersed in classical music, but then a change of guitar teacher introduced me to jazz, soon after I started singing in a jazz band. At the same time, I began writing songs, met a new group of mates and started singing in a rock band.

And thinking about it, 1983 has in its hall of fame: "Billie Jean", "Every Breath You Take”, "Total Eclipse Of The Heart”, "Come On Eileen”, "Sweet Dreams (Are Made Of This)”, "Let's Dance”, "Africa”, and "Flashdance” – to name a few. It was also the year when Michael Jackson released possibly the most influential pop video of all time -Thriller. Ok, so it was a pretty big year…But for me, I need to go further back, when I was really young. I think the first album I ever owned was Parallel Lines by Blondie and that was 1978. My dad bought it for me on cassette and I played it non-stop, till the tape machine mangled the tape. To me, this album was so ahead of its’ time and I think it was from that point that my ears started listening in a different way, open to everything - all sounds and all genres.

So what about you? Can you say without doubt which year was the most influential for music, for you personally? Have there been multiple years that you feel are as important in your life with music? I’d love to know what you think.

What kind of music do you like?

I wonder if you are like me and get kinda tongue tied when you are asked this question. I think it is one of my least favourite questions -partly because I don’t like being put on the spot and partly, what a sad admission this is, I don’t really like being judged.

I know the judging here is superficial; it’s not a clash of moral principles or political ideals, though we can all get quite het up when vociferously defending our musical choices. I have to confess, and I’m sure I’m not the only one, chatting away to someone as they reel off artists they like and then internally wrinkling my nose at a name they say, thinking, “Really?!”

Music is such a huge part of my life as a singer but also as a listener and we all go through phases of listening to certain types of music - discovering new music, rediscovering old tracks, like long lost friends. So ask me on a certain day and I may say John Coltrane, later in the week it may be Stone Sour.

I love connecting with people over musical tastes and choices, but equally love it when you meet someone whose taste is vastly different from your own. It’s an opportunity to delve into a whole new world of creativity. Since working with Krossbow, my ears have been opened up to a whole new genre. Tipper and Culprate are definitely worth a listen, as are Krossbow!

I know that when I am working on a particular project I flip between immersing myself in similar vibes to enjoying music that is the polar opposite of what I am doing. When I write for my blog I like to listen to a lot of instrumental music, it bubbles away in my subconscious without the lyrical content taking hold.

I suppose I love music that is authentic, music with soul, guts, and true intention. Music that makes me happy, that makes me rise to my feet and dance like crazy, music that makes me fling my hair around so my neck hurts, songs that I can’t sing along to because the words are so emotive they make me cry, music that reaches into my gut and makes me feel desperate. Music that makes me feel. And of course, there is nothing like real, great, live music coursing through your veins.

The flip side I suppose is predictable. I hate manufactured music. Going through the motions music. And I can’t bear songs in which you can’t hear 80% of the lyrics. I know I sound old now…This is not an exhaustive list by any means but; I love Chet Baker, John Coltrane, Billie Holiday, Judy Garland, Tom Waits, Blondie, Siouxsie and the Banshees, Queen, Matt Bianco, Brand New Heavies, Johnny Cash, Eminem, Michael Jackson, Prince, Stevie Wonder, David Bowie, Aloe Blacc, Pink, Imagine Dragons, Passenger, Chopin, Beethoven, Stone Sour, White Stripes, Bruno Mars, Eva Cassidy and of course the artists featured on "I'm listening to.."…I could go on, but you might get bored, so I’ll stop. What about you? Who is on your list? What kind of music do you like?  

Why lyrics are important to me

Years ago I was lucky enough to attend a songwriting workshop run by a respected, eminent songwriter from Nashville called Ralph Murphy. Among the many pearls of wisdom we were told that day, one really really resonated with me, he said

“When you hear a song, the music draws the listener in, but the lyrics keep them there.”

Lyrics written to a great melody and arrangement can create something very tangible that we all connect with. And though the feelings lyrics evoked may be different for different people; one phrase can unlock a tidal wave of emotion, in which you are caught for the duration of that song.

Don’t get me wrong I love instrumental music too. There is beauty in wordless compositions that make feelings rise up inside you. But to me, instrumental music takes you on a different journey one that is more visual, cinematic, perhaps?

As a singer, I view lyrics as my secret weapons. I can tell you things, invite you to connect with me. Through a song I can show you a piece of myself. I can be vulnerable or disarming because I choose to, or because the lyric of the song compels me to. Each time I sing for you, we go on a journey and sometimes the energy we exchange is truly magical. It’s literally like poetry in motion, or in music.

In my recent post, “So what does music mean to you?” I said

“One song has the power to undo all that work you have done on a broken heart. You can be a million miles away and remember someone or something from your past, and smile and feel like it has only just happened.”

There are songs I still can’t listen to because the emotions they reveal are still so raw, they remind me of something or someone I hoped I had forgotten.

I know several musicians who will be rolling their eyes. The number of times, instrumentalists, whom I love, will say rather flippantly that the lyrics aren’t really necessary to the song, or I sing them something and say, “Don’t you think that’s beautiful?” And they respond by saying they weren’t really listening to the words but the melody was lovely…not all instrumentalists of course, but definitely some…although I’m not going to name and shame here!

So what about you? Do you mindlessly sing along to songs, or are lyrics and the story they tell you important to you too? Do you have a favourite lyric, if so, please tell me, I’d love to know.

I am not a fan of "favourites" but here are some lyrics I love from an artist I revere:

Pink: Glitter in the air:

And it's only half past the point of no return

The tip of the iceberg

The sun before the burn

The thunder before the lightning

Breath before the phrase

Have you ever felt this way?

Have you ever hated yourself for staring at the phone?

You're whole life waiting on the ring to prove you're not alone

Have you ever been touched so gently you had to cry?

Have you ever invited a stranger to come inside?

My first real introduction to Flamenco music

I very rarely go out on Sundays. However, last Sunday I made an exception. A mate had tickets to Iberian Nights Eclectica: Flamenco Sounds featuring Rocio Márquez at the Globe Theatre on the South Bank, in London.

(Singer, Rocio Márquez)

To be honest, I was exhausted. It was my daughter’s birthday party the night before and I was fighting some kind of virus (which I am still fighting).However, to say I am delighted I went is a massive understatement. And as a singer/songwriter, I love experiencing music as a listener as well as a performer and one of my bugbears is, with general juggling of life, I don’t experience enough live music these days.

Anyway, back to the concert. I will keep this short, as my knowledge of Flamenco music is minimal. The concert was held in the Sam Wanamaker Playhouse, which is the Globe’s candlelit indoor theatre. It is absolutely stunning and an incredible setting in which to enjoy a performance.

(The Sam Wanamaker Playhouse, the Globe’s candlelit indoor theatre)

Singer, Rocío Márquez, was accompanied by Miguel Ángel Cortés, who was stupendous on guitar and the rhythms were provided by the duo Los Mellis, two rather attractive twin brothers, who were also great.

I didn’t really know how I was going to interact with the music, not being a Flamenco aficionado. I know it is a form of Spanish folk music from southern Spain. It includes singing, guitar playing, sometimes baile (dance) and jaleo, which refers to the vocalizations and rhythmic sounds of palmas (handclapping) and pitos (finger snapping).

I was drawn in within seconds. And there really aren’t enough superlatives to describe the performance and the emotion that was communicated to me. It was passionate, tender, dramatic, intricate, precise and totally mesmerising. Also, bear in mind I speak about two phrases of Spanish, but my lack of understanding did not inhibit my enjoyment at all – and I guess that is the magic of great music.

I think this concert was a one off, but remember the names, because if they are performing near you, I urge you to get tickets.Oh one more thing. The performers and some audience members who knew, spontaneously shouted “Ole” at appropriate moments. I realised that this exclamation was a shout of approval and enthusiasm - and I may be adopting this in everyday life…Sadly, couldn’t find a clip of the whole ensemble. But here are Rocio Márquez Miguel Ángel Cortés and doing their thing.

Overexposure of a song – how a song you love turns into one you turn off

Mark Ronson - Uptown Funk (Official Video) ft. Bruno Mars Follow on Spotify: http://ron.sn/stream/spotify Listen on Apple Music: http://ron.sn/stream/applemusic Listen on Amazon: http://ron.sn/stream/amazon Listen to more music from Mark Ronson here: http://ron.sn/stream Follow Mark Ronson Newsletter: http://ron.sn/join Website: http://markronson.co.uk/ Facebook: https://facebook.com/MarkRonson Twitter: https://twitter.com/MarkRonson Instagram: https://instagram.com/iamMarkRonson/ #MarkRonson #BrunoMars #UptownFunk #MarkRonsonOfficial #MarkRonsonFtBrunoMars #MarkRonsonEssentials #BrunoMarsUptownFunk #MarkRonsonGreatestHits #BestOfMarkRonson #MarkRonsonFtBrunoMarsUptownFunk #MarkRonsonUptownFunk #UptownFunkOfficialVideo #UptownSpecial Lyrics Doh Doh doh doh, doh doh doh, doh doh Doh doh doh, doh doh doh, doh doh Doh doh doh, doh doh doh, doh doh Doh doh doh, doh duh (Aaaaaaow!)

I had an interesting conversation with my son recently that I wanted to share with you.

We were having a lazy Sunday afternoon and I said, as I do, that we should put something on to dance to. This is never met with reaction I am hoping for…one day I will say this and my kids will leap up and dance with me on the sofas…anyway, I digress.

I carried on by saying this felt like an “Uptown Funk” moment. To which he replied, “Oh no…I’m so over that song.”

I voiced my considerable surprise and said what a great song it is…he was non committal – “Yeah…but it’s everywhere” I was intrigued so I reeled of a few other song titles and got to Stay with me (Sam Smith)…my son rolled his eyes, “Yeah, that one too.”

So this got me thinking; to me, one part of being a really successful artist, is that your music is as far reaching as possible. But if the market is flooded with one particular song, does its’ appeal wane? I suppose there could be a tipping point for a song when it goes from being a fresh sound to a cool sought after track to being everywhere – trailers/ad breaks/on every daytime playlist.

Don’t get me wrong, as an artist who has had a few spot plays here and there I have no concept of this dilemma and I’m thinking it would be a quality problem to have.

When I discover a new song I do tend to overplay it. But I suppose my son has a point, because after a while I leave it alone, or hit skip on my playlist. Too much of a good thing, I guess. I do come back to it in time, because, after all, a great song is a great song.

My kids have gone to another extreme, long gone are the days they share new musical finds with me. Their iTunes libraries are closely guarded secrets…I think they are wary of me getting hold of and overplaying their latest favourites.

So does overexposure of a song turn people off? Does it stop you liking a song you loved a month ago? And are there songs that you never tire of, that are immune to this? Tell me what you think.

And this is a little gratuitous...but I really like it...