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 makes you think of a person as a star?

(Robin WIlliams in Los Angeles on Friday, Aug. 14, 2009. (AP Photo/Matt Sayles))

Nowadays, there are some words that are thrown around all too frequently, in my opinion – legend, icon, and star, even a god, which I heard this morning on the radio about a footballer.

Maybe, I am getting old, but I find this free and easy labelling increasingly irritating. We do live in a world where there is fantastic talent in so many areas of life, but there are degrees - and true stardom, to me, is something quite unusual.

True stars have talent and are excellent at what they do, that’s a given, but there is something more, something intangible, that makes them special.

I don’t believe the majority of true greats decided one day that they were at the pinnacle of their careers; it just became glaringly obvious to everyone else. People, I consider to be stars, as I said have talent of course but it takes time, experience, integrity, persistence, determination and humility. And the people we revere that attain this title share their talents with us unreservedly - it is at their very core and it literally pours out of them.

At the moment, I am thinking particularly about BB King, whom the world lost on Friday. Sadly, I never saw him perform live, but he had such an impact on my musical life. And on hearing of his passing it felt like there was a sombre cloud over many people’s moods.

Another such man, in my eyes, was Robin Williams. I remember, how upset so many of my friends and I were to hear of his death, last year. Mastery like his seemed to be a god- gifted talent, as my mother would call it, so intertwined with his character and being, it looked effortless.

Of course, much of this “stardom” labelling is subjective. Even if certain people are viewed favourably by the masses, there will always be someone who will call their “status” into question, or disagree. But there are some, like BB King and Robin Williams, who are universally accepted as legends.

And over the last year or so, we have lost some incredible talent: Maya Angelou, Bob Hoskins, Rik Mayall, Joe Cocker, Lauren Bacall and Richard Attenborough, to name a few as well as of course Robin Williams and BB King. These names are just off the top of my head and I would be interested to know if anyone would call into question the star like qualities of anyone on the list above.

And I would love to know what qualities you think people have whom you consider to be iconic. Who do you think of as a star?...

And because it is still so raw and fresh in my mind, here's another BB King song, not that I think we really need a reason. I struggled to listen to this all the way through on Friday, but I have made progress...in the words of the spectacular Mr King: “Let the good times roll…”

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.

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...

Learning to love your voice

 It occurred to me the other day that I have been, of late, learning to love my voice, enjoy it even… rather than wanting to sound like someone I revered (whom I was never going to sound like).

If you were to ask me who I would like to sound like today I’d probably say Pink. Clearly, I don’t sound like Pink. The vocal gutsiness and edginess is so natural to her.

When I was very young, it was Judy Garland. I was drawn into the world of musical theatre, the spectacle and fantasy was so appealing. Judy Garland was a belter, like Barbra Streisand and Aretha. The command in their voices, the richness of tone and power. When they do it, it sounds effortless. And that is the mark of true mastery. Making something look like it just happens. And when they open their mouths, well, sometimes we aren’t prepared for the wonder that comes out.

For ages I couldn’t work out how to create that belting sound. So whilst I loved to sing and perform, I was constantly setting myself up for a fall. I’m just not a natural belter. I didn’t know how to produce the power and my body wasn’t hard-wired to do it.

I have since realised with technique I can do it. And have surprised myself, and a few others with what comes out. In a good way, by the way. My current favourite to let rip on is, “Who’s Lovin’ you?” by the Jackson 5.

I have also learned that build and physique comes into it, how you were trained at the beginning of your singing life. Sometimes what you do instinctively is your true sound; and at the core, my voice is sweet. Sweet, with a lot of clarity. And I used to hate that.

I realise now though, that instead of fighting against nature, the best comes when I work with it. Let it do its thing. After all, that’s what I really admire in other singers. How they use their instrument naturally and deliver an authentic performance.

For me, it’s all about the story, the lyrics and emotion and if I am truly in the middle of it, my voice will do the rest. Of course I practise, explore and experiment.

But, every fantastic singing teacher I have ever had has told me to work hard but shut the door on the technique when I perform - and just sing.

Sometimes, we can torture ourselves because we are not what we want to be. We forget to see the gift we have been given and appreciate and nurture it.

When I was in the studio recently, my producer (who happens to be good friend) and I had a bit of an argument. In fact, we were severely pissing each other off. I felt I was giving the performance I needed to give and he told me he wasn’t feeling it. Ouch. I mean seriously ouch.

It could said I then unleashed a hybrid of a spoilt child and stroppy diva… Anyway, we were snapping at each other and I felt he was being down right mean. And then he said to me, “Focus, you don’t need this make-up for your voice, just be you.”

I was so taken back because it was so out of the blue and a really lovely thing to say. My brain didn’t have time to compute. So I sang. And it was pretty much a perfect take.

He then told me he had upset me on purpose to get the performance out of me, because he knew which buttons to press… Not sure I believe that!

So, one of my least favourite questions used to be “Who do you sound like? Names, used to fly through my head…people I wanted to sound like, people I didn’t, people I ought to associate myself with, given genre and style.

I don’t what’s happened, maybe I finally getting comfortable with my voice; nowadays, I say you could come to hear me sing and decide for yourself. I sound like Parry Ray. 

https://soundcloud.com/parry-ray-official/slow-burn?in=parry-ray-official/sets/parry-ray-sampler    

So what does music mean to you?

This is something I have wanted to write about for sometime and was reminded of this by my lovely colleague/friend Adam, with whom I was chatting the other day.

Music to me is all about communication and connection. As a singer, I want to share a story or experience with you, and take you on a journey with me. And for those maybe three and a half minutes I want to be caught up in the intention of that song.

I’m not saying you always need lyrics. Some of the most powerful music I have experienced has been instrumental. In fact, one of my earliest, lasting memories was as a teenager going to see Yehudi Menuhin and Ravi Shankar with my family. In those days, the fusion of eastern and western instrumentation was not commonplace. This concert was groundbreaking really. It was exhilarating and electrifying - and for a few hours I was immersed in a magical world.

I suppose I love that fantastical quality of music. The escape. Falling down the rabbit hole.

In other ways music can be very potent and real. It has the power to transport you, at lightening speed, back to the most evocative memories. 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. And if the right song comes on at a party, well there is nothing you can do but get on your feet and shake your thing. We all have our own jam, right?

I am lucky to know many wonderful musicians, all of whom, I suppose, want to do well with their music and to be successful - it is our profession after all. But sterilizing music into just a product, manufacturing a particular end result - it feels a little soulless to me. I think you know where I am going with this...I love meeting people who have very different musical tastes to me; I love hearing something new that I really like and broadening my musical horizons.

The other thing I don’t really understand is when you ask some people, and I do know a few, what music they like and they say they don’t really listen to music. I’m not saying this is right or wrong, but it really feels like they are missing out on a world rich with experience and colour.

So, music is… finish the sentence with one word. It’s quite hard.

So I’ll make it easier, what does music mean to you? 

Artists that divide us: Part 1

The "Backyard Sessions" took place earlier this summer when Miley brought her band together to perform some of her favorite songs. The last in the series is "Jolene". Checkout the NEW MileyCyrus.com for more!

If I had a pound for every time a musician said to me, “I would never go out with a singer, they’re crazy,” I would be eating out a bit more than I do. There is no getting away from the fact that singers are funny creatures. I feel I can say this, because I am one.

As a singer, I think we all want to make our mark with enough originality to set us apart – so our voice, intention and creativity can truly be heard. But I guess the trick lies in having enough appeal to reach the masses.

There are artists who are “universally” liked, and cut seamlessly across genres. I don’t know many people who don’t like Freddie Mercury, Prince or, more recently, Bruno Mars and Adam Lambert.

But then there are the contentious ones. The ones who are purposefully provocative and antagonistic.

Somebody who has sparked a lot of discussion in my house is Miley Cyrus. And please don’t judge me but I have come round to her. The reality is I don’t know what Miley is like, but the girl can sing.

Last year, I went to see Dolly Parton at the O2 and what a master class in professionalism that was. Whilst I was floating on the Dolly cloud, I decided to research some of her songs and who had covered them. This led me to Miley Cyrus - the Backyard Sessions, I clicked on Jolene and it was great. Take a look for yourself:

As my 17 year daughter, very succinctly said the other day, “So what if she does ridiculous things. Just because you’re a bit slutty or vulgar, it doesn’t make you a horrible person or a bad singer.”

I can’t argue with that.

I guess there is a separate issue of the example being set…do artists have a responsibility to their fans? Or should they experiment and be true to whatever they are feeling at the time?

Does creativity allow us to behave however we choose? What do you think? I think I feel another post coming on…And which artists do you love or hate?

Losing my father, led to my reinvention

Everyone has a story, a pivotal life changing moment. I have a few actually - life, it would seem, keeps slapping me in the face to ensure I get the message. But of those moments there are none more relevant to my life as a musician than this one…

On October 18th 2001, my father suffered serious complications from what should have been a routine back operation. When he woke, after four days and five subsequent operations, he could no longer walk, talk or see. My world had been utterly decimated.

A few long months later I rediscovered my voice – which, it turned out, would be my salvation.

At the risk of sounding like a contestant on a reality show, I always knew that I wanted to sing. I have always found the emotion in music compelling, intoxicating even. That beautiful partnership of melody and lyrics can take me anywhere and evoke latent memories of a different time. But despite playing the piano from the age of 4, guitar from 11 and singing since the age of 7, the goal of being a professional singer had constantly been shelved. My mother, who recognised my love for music at an early age, was reticent. Possibly because, aged 16, I came home with a blond haired, blue eyed, saxophone playing 24 year old boyfriend! But also because perhaps she considered music too unstable a career choice. “You’ll end up in the gutter” she would say, and I used to think, but that’s where the fun’s happening.

So after two Physics degrees and a few jobs in science and business publishing, life accelerated. I got married and had two beautiful children. Many would say that that was enough. But for me not singing turned out to be my biggest regret and my dissatisfaction was growing by the day.

By the end of 2001, my father was in still in hospital (he never came home). He died on 29 February 2004. My mother's heart was broken, she was becoming reclusive and I had a 3 year old son and a 4 year old daughter. That is when I enrolled in a jazz singing class where for two hours a week I was in paradise. My technique was pretty ropey but my teacher convinced me that this was something I could peruse professionally.

I went to some open mic sessions, met some amazing musicians and cut a demo to see if I could get work. It turned out that I could - perhaps not in the most salubrious of locations, but I really didn't care. One of my greatest faults is that I don't always think things through. I favour the “fly by the seat of your pants” approach to life, which sometimes is a curse, but in this case I think it was a blessing. I was literally living my dream, and if I had thought of the practicalities perhaps I would have packed it all in. Slowly both the gigs and my voice got better. I realised I had to put in some serious graft on my technique and repertoire, but to call it work would be fraudulent. Singing isn't work to me - it’s my passion and my compulsion.

Throughout this journey, my kids (now 16 and 17) have been my greatest support. When I doubt myself, they get lippy and arsy in a way only teenagers can. They propel me forward with crazy energy. They tell me to live my dream, because that's what I tell them to do. They tell me that there are no shortcuts, because that’s what I tell them that too. And when I’m exhausted they fold washing, they empty the dishwasher and they make cups of tea.

Life as a singer is crazy, busy and not always straightforward, but there is nothing I’d rather do. Ever. And I feel like I’m just getting started. Losing my father was unbearable, he was kind and warm and gentle and it was one of those things that I thought could never happen to me. But the silver lining was the rediscovery of my voice. Now I get to sing and write every day, I get to be part of a family full of talented musicians and songwriters and I'm pretty sure my dad is smiling down at me, whilst kicking up a storm in heaven.