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?

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

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?  

Krossbow featuring Parry Ray – my latest collaboration

(Krossbow)

So yesterday was my first studio session with these guys – Jon (on the left) and Colin (on the right), otherwise known as Krossbow.

They are an electronic duo who met at university and have been writing, gigging and DJing together ever since. Last year they played at Glastonbury and BoomTown.

My musical journey has been an unconventional one, so in some respects this fits perfectly. A few years ago, I silently promised myself I would explore every musical opportunity that came my way; maybe I put something out there in the ether?

I was in the middle of my project with friend and guitarist Francesco Lo Castro and planning out my covers album that I am currently in the process of recording with producer Andy Wright, when I met Colin.

Colin’s day job is to teach musicians like me to use the software Logic, so I booked a few lessons. In the process of learning how to record my own stuff using scary software, the conversations turned to all things musical. And I think it struck both of us that the diversity in our musical knowledge, experience and delivery when blended together could produce something quite cool.

Anyway, after my lessons, we kept in touch, talking about work and possible collaborations. Whilst I was truly excited at the prospect – I couldn’t see the way forward, as I didn’t have a solid idea. Anyway in March, quite out of the blue, the Krossbow guys dropped me an email with an attachment - a dubstep tune with a jazzy feel.

So, the moment of truth, I clicked on the attachment and listened. Did I like it? Could I write anything for it? Could I sing on something like this? Oh yes! I emailed back straightaway to find out what kind of lyrics they wanted me to write and then started working on topline ideas.

So this is what I can tell you. For the first time of being in the studio together we settled into our groove very quickly. And it turned out to be an exhilarating, inspiring day. Of all the projects I am working on at the moment, on first listening this may the furthest away from Parry Ray as you know me, but make no mistake there is a lot of me in there.

Krossbow are currently working on their first full-length album covering multiple genres and styles. And I think, from what they have said, the development of each track has been very organic. They are making music they want to make and working with people they want to work with – pretty ideal I think. Check them out at https://soundcloud.com/krossbow

And if you are in need of a musical Parry Ray fix, check out the Highlights section on Parry Ray in Harmony with my YouTube vids.

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.