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Scuzz Sundays: Bloc Party – ‘Helicopter’

November 7, 2021 — Leave a comment
  • Pictured: Kele Okereke (Lead Vocals/Rhythm Guitar/Sampling), Russell Lissack (Lead Guitar/Keyboard), Justin Harris (Bass Guitar/Synths) & Louise Bartle (Drums/Percussion) (2015) (Photo by Rachael Wright)

Good Morning to you! This is Jacob Braybrooke, and it’s the time of the week where we re-evaluate some of the biggest hits that would have gained airplay from the likes of Kerrang and Scuzz TV in the decades past, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The current line-up of Bloc Party sees long-serving frontman Kele Okereke touring with Russell Lisack, Louise Bartle and Justin Harris, but previous iterations of the project have seen guitarists like Matt Tong and Gordon Moakes playing among their ranks. Although I’m not very sure how well-known that Bloc Party are globally, they are a household name in the UK, having scored many memorable crossover hits like ‘Flux’, ‘Hunting For Witches’, ‘Banquet’, ‘Two More Years’ and ‘The Prayer’ in the UK Singles Charts, well on their way to selling over three million albums worldwide. ‘Helicopter’ was a permanent fixture on the multiplayer mode of ‘Guitar Hero 3: Legends Of Rock’ from 2007, and it was one of the band’s first mainstream successes, as it was released as a standalone single in 2004 before also appearing on their debut studio album, ‘Silent Alarm’, the next year. Known for blending 00’s ‘Indie’ rock tropes with elements of Ambient House and Electronica, Bloc Party received decent reviews for their first LP and the record was named the ‘Indie Album Of The Year’ at the 2006 PLUG Awards and at the NME Awards of the same year. Let’s remind ourselves of ‘Helicopter’ below.

A Garage rock-tinged 00’s indie anthem, ‘Helicopter’ reached #26 in the UK Singles Chart and the main riff was adapted from The Jam’s ‘Set The House Ablaze’ taken off their 1980 album, ‘Sound Affects’. Making it’s mark on popular culture, the original record and remixes of the record have appeared in video games like ‘Project Gotham Racing 3’, ‘FIFA 06’ and ‘Colin McRae DIRT 2’, and it can also be heard in film and TV productions like ‘Yes Man’, ‘Charlie St. Cloud’ and ‘Malcolm In The Middle’ too. As for the track itself, Bloc Party managed to stand out from contemporary peers like Interpol and Franz Ferdinand by drawing from the dark spectrum of their homeland’s 1980’s indie pop canon with some Gang Of Four-laden guitar stabs in the chorus and by jogging the memories of The Jam, especially in the melodic vocals that add a grittier feel to their sound. The lyrics are a rally cry for a call to arms against those who stand for political incorrectness and the acceptance of those who stand still, with lyrics like “Are you waiting for a miracle?” influencing a feel of urgency, and notable refrains like “North to South/Empty” inspiring independence as a glorified weapon. Yet more raw guitar riffs energetically charge these vocals, and the somewhat off-key backing vocals are cased in a distorted fuzz, giving the effect of back-tracking of polished perfection. There’s a catchy Strokes-like harmonized guitar line in the verses, and the track also has a memorable bridge that builds up some bitter effect-boosted guitar riffs leading to an up-tempo riff or harmonics that add a fresh, somewhat inventive, dimension to the track in its great finale, so to speak, and this is a very solid effect because it creates some pounding instrumentation that feels energetic before the charismatic Drum outro. I felt that drummer Matt Tong really shined in this track, and the accessibility of the tune managed to garner interest from the average indie pop/rock listener without departing too drastically from their influences of Electronica and Ghetto House that were important to Bloc Party’s core sound. In conclusion, while this probably isn’t the most accurate representation of Bloc Party overall, it is still a very catchy pop/rock tune that pulls a few of the tricks up its sleeves to a raucous effect with catchy hooks and a nice balance of radio-friendly appeal and something more alternative. It was a timeless single that, along with Arctic Monkeys and Maximo Park, commanded sizeable audiences for Indie acts.

  • Pictured: Cover Art for ‘Silent Alarm’ (LP) (Released on February 2, 2005) (via Wichita Recordings)

Thank you for checking out my latest post, and I’ll be back tomorrow with an in-depth look at solo music from a Cuban-American singer songwriter who was previously a member of the girl group Fifth Harmony, who found fame with global chart hits like ‘Worth It’ following their third place finish from the US series of ‘The X Factor’ of 2012.

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Today’s Track: Nightmares On Wax (feat. OSHUN) – “Breathe In”

November 6, 2021 — Leave a comment
  • Pictured: Cover Art for ‘Shout Out! To Freedom’ (Released on October 29th, 2021) (via Warp Records)

Good Morning to you! I’m Jacob Braybrooke, and it’s time to indulge your senses into yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! ‘Shout Out! To Freedom’ is the latest LP to come from the legendary Leeds-born and Ibiza-based electronic Trip Hop producer Nightmares On Wax – the now solo project of George Evelyn that used to be a trio with Kevin Harper and John Halnon up until the early 90’s – who has scored multiple crossover hits like ’70’s/80’s’, ‘Aftermath’, ‘Finer’, ‘Know My Name’ and ‘I’m For Real’ in the UK Singles Charts. He is the longest serving signee to the iconic forward-thinking experimental label Warp Records, and the critical acclaim of classic albums such as 2006’s ‘In A Space Outta Sound’, 1995’s ‘Smokers Delight’ and 2008’s ‘Thought So’ have led to his projects being highly anticipated among electronic music fans as some of the genre’s most important offerings. Sadly, he became more like ‘Nightmares No Vax’ in some Twitter posts leading up to the marketing machine of the new record, but, luckily, none of these controversial opinions have really cropped up on-record or became too preachy, and he opted to explore the general themes of freedom and meditation on his new album, and so it’s quite nice to see that he’s supporting freedom of speech without bringing any harm to others, and I could see his perspective as a creative coming from a non-white background. ‘Shout Out To Freedom’ has instead been released to pretty positive reviews, and it features a solid guest list of names including Greentea Peng, King Shabaka Hutchings of The Comet Is Coming fame, Mara TK, Pip Millett, Haile Supreme and others – each of which have been asked by Hill to collaborate on songs exploring what freedom means to them. The only single taken from the record with a music video attached is ‘Breathe In’, a mid-album track which includes vocals from the NYC duo OSHUN. Check it out below.

“I feel like I’ve been set free of something and I am now becoming who I really am”, says Evelyn of Nightmares On Wax fame, adding, “I’ve been gigging non-stop for 10 years, and that experience has been beautiful but it also drained me emotionally. As a creative, you’re always questioning everything. So, having the time and the space has meant that I could do a proper deep dive into this stuff. So it was all about this journey of going back to myself, and realizing being at home with my wife and my daughter that I’ve not really been here properly. It’s like I’ve just woken back up to what I actually have – and it’s already here”, when writing all about his new album – ‘Shout Out! To Freedom’. ‘Breathe In’ still contains the influences of Curtis Mayfield and Quincy Jones that have all shaped his typical concoction of Funk, Soul, Jazz, Downtempo Electronica, Dub and Techno that have kept his project alive for many decades and have characterized his sound, while putting a more modern spin on these styles predominantly within the lyrics, which discuss the simple act of staying off your phone and meditating instead. ‘Breathe In’ takes a slinky and psychedelic groove, embedded with the lyrical themes of nature and mindfulness, and Evelyn arranges some 90’s Trip Hop beats and a playful 90’s ploy on old-fashioned Dancehall melodies that have a weightlessness and an airy sense of production to them, mixing nicely with the deep and spiritual vocals from OSHUN that echo Dub all over the track. Some interesting String samples and subtle Keyboard loops make up the rest of the instrumentation, and there seems to be a lush 70’s Black Exploitation vibe to things where the usual elements of Jazz, Funk and Soul come together from Hill, some genres that he’s well known for exploring. A mix of darker Piano chords and punchier beats differentiate this track from some of his familiar 90’s and 00’s chilled out House offerings, and the more spacious parts of the vocals build to some longer harmonies and some sustained notes in the latter half of the track. While there aren’t any lyrics that specifically stick out to me, it seems like a variety of ideas are being conveyed through the balance of Urban and Nature that OSHUN evoked here. Overall, ‘Breathe In’ was a track which I enjoyed from the new album, which really strikes me as a good headphones-in-bed type of listening experience. While not as essential as other recent Warp Records efforts from the likes of Yves Tumor or Jockstrap, due to some of the melodies feeling as though they meander along a little bit, I still have a pretty positive perception of it. I like how it manages to not quite sound like any other track that I have heard from Evelyn to date, as the tribalistic drum loops and the psychedelic Soul feel manage to sound interesting. Whereas most of his tracks gives me a warm and comforting feel inside, this one feels more urgent in taking action, which is different to the way that most of his other singles make me feel. While there’s a general sense of positivity, it seems slightly more alarming. A great-sounding return.

  • Pictured: Nightmares On Wax (aka George Evelyn) performing at Wire (2016) (Photo by Justin Gardner)

That’s all for now and thank you for continuing to support the site. ‘Scuzz Sundays’ is set for tomorrow, and we’ll be focusing our attention to an English rock band who got their big break in 2006 when their Platinum certified debut album won the ‘Indie Album Of The Year’ gong at the 2006 PLUG Awards and each member of the band have continued to work on their own solo side projects in more recent times. Whilst together, the London band have sold over three million albums worldwide as of 2012.

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Way Back Wednesdays: Jimmy Cliff – ‘The Harder They Come’

November 3, 2021 — Leave a comment
  • Pictured: Jimmy Cliff in a PR shoot for a Rolling Stone interview feature (2021) (Photo via Vision Addict)

Good Afternoon to you! This is Jacob Braybrooke, and you’ve come to the right place for a seminal selection of my weekly ‘Way Back Wednesday’ series of classic appraisals, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! Even the most casual audiences of music would have heard some material from Jamaican Ska and Rocksteady multi-instrumentalist, producer, actor and composer Jimmy Cliff before, since he composed iconic tracks like ‘Hakuna Matata’ and ‘Reggae Night’ that have been etched deeply into popular culture. Also known for hits like ‘You Can Get It If You Really Want’ and his cover version of Johnny Nash’s ‘I Can See Clearly Now’ that was used in Disney’s classic ‘Cool Runnings’ film about the first ever Bobsleigh team from Jamaica to enter the Olympic games, Cliff is a crucial component in popularizing genres such as Reggae and Alternative Soul across the world. One of five performers inducted into the ‘Rock and Roll Hall Of Fame’ in 2010, the St. James-born vocalist is the only living reggae musician to hold the Jamaican government’s Order Of Merit, the highest honour that can be granted for his services to performing arts and sciences. ‘The Harder They Come’, the soundtrack album and its titular lead single from the Perry Henzel-directed motion picture of the same name released in 1972, is widely considered to be one of Cliff’s greatest releases. The record peaked at #140 on the US Billboard 200, and, in 2021, the album was deemed to be “culturally, historically or aesthetically significant” by the Library Of Congress and so it has been selected for preservation in the National Recording Registry. Let’s remind ourselves of the iconic title track below.

Voted as the 73rd greatest album of all time by Entertainment Weekly’s editors in July 2013, the soundtrack was a true celebration of Reggae globalization with prominent guest spots from 60’s Jamaican Rocksteady icons like Desmond Dekker, The Maytals and The Melodians. Speaking of the hit title track, Jimmy Cliff recalled in an interview conducted for the Wall Street Journal in 2013, saying, “The lyrics came from my past. I grew up in the church and had always questioned what they were telling me. Like the promise of a Pie in the sky when you die”, elaborating, “I wanted the song to have a church feel and to reflect the environment I grew up in – the underdog fighting all kinds of trickery”, in the text. Like some other songs on the album, ‘The Harder They Come’ appears twice, paralleling both the movie’s core themes and the autobiographical essence of Cliff’s career. It’s placement during the middle of the album gives it an entirely different feel than when it appears as the uplifting, positive closer, and this works well as it is sandwiched between the nostalgic sweetness of The Maytals’ guest track and just prior to the more alarmed warnings of ‘Johnny Too Bad’ shortly afterwards. Following a simple story of a character who is proving his naysayers wrong and overcoming the odds stacked against him, Cliff recites motivational lyrics like “As sure as the sun will shine/I’m gonna get my sure now, what’s mine” and “Between the day you’re born and when you die/They never seem to hear your cry” and acknowledges realistic expectations in sequences like “I keep on fighting for the things I want/Though I know that when you’re dead you can’t” that bring his ambitions to earth at brief intervals. The second verse is a standout, and the vocals emphasize the power of religion and ignoring bad influence upon your personality from the people who doubt your potential. The track still manages to stand out nicely in this modern time by feeling relatively grounded yet still upbeat and cheerful, boasting some optimistic lyrics that don’t shy away from recognizing fault in setting unrealistic targets for yourself. There are a few shades of Calypso, Tropicalia and Belefonte in the Gospel-leaning sounds of the recording, where a collective sequence of backing vocals from a choir lends some assistance to the cinematic atmosphere of the single’s filmic roots. The percussion has some smooth, breezily flowing instrumentation and the inherent excitement of the key Soulful harmonies gets a positive message across. In conclusion, ‘The Harder They Come’ is a down-to-earth, but nonetheless still interesting, Reggae classic that still works well in the present day. The odd Organ chords and the gently quickening Reggae beats are great at supporting Cliff’s optimistic lyrics about his life, but the bleaker moments never feel glossed or sugar-coated over too much. A solid, universal Ska crossover hit.

That brings us to the end of yet another daily post on the blog! Thank you for your support, and I’ll be back tomorrow to review a relaxing, new and entirely Ambient Electronica project from an English-born experimental electronic music producer who has contributed to albums for Brian Eno and Coldplay in his career so far, and he has appeared twice on the blog in different capacities before. His new album, ‘Music For Psychedelic Therapy’, shall finally be releasing on Domino Records next weekend.

  • Pictured: Cover Art for ‘The Harder They Come’ (OST) (Released on July 7th, 1972) (via Island Records)

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Spooky Season Special: John Carpenter (feat. Cody Carpenter & Daniel Davies) – “The Shape Burns” (From 2018’s ‘Halloween’)

October 31, 2021 — Leave a comment
  • Pictured: John Carpenter (2021) (Photo Credit: Marlow Stern/Abaca Press/AP/TheDailyBeast.com)

Halloween greetings to you! This is Jacob Braybrooke, instructing you to park your Broom up and sit for a spell, since its time for the second part of our Spooktacular specials where we compare the classic and contemporary Halloween soundtracks, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Yesterday, we took an in-depth listen to ‘Michael Kills Judith’ from the titular scene of John Carpenter’s seminal 70’s horror flick, ‘Halloween’, and, today, we’re listening to ‘The Shape Burns’ from the recent reboot of the series. The production stages of 2018’s ‘Halloween’ saw the original film’s director and composer, John Carpenter, make his return to the series for the first time since 1982’s ‘Halloween III: Season Of The Witch’ as an executive producer and general creative consultant, and he also composed the soundtrack alongside Cody Carpenter and Daniel Davies. The flick was directed by David Gordon Green (Pineapple Express, Manglehorn) and it also saw Jamie Lee Curtis return to the franchise for more to reprise her role as Laurie Strode from the original film. Ignoring the narrative continuity of previous films from the series, which saw diminishing returns in later installments, the plot of 2018’s ‘Halloween’ is set 40 years after the story of the original Thriller film and it follows a post-traumatic Laurie Strode who prepares to face Michael Myers in a final showdown on Halloween Night. ‘Halloween’ (2018) was an enormous commercial success when it broke box office records for the Slasher genre previously held by 1996’s ‘Scream’ and it has gone on to become the current highest grossing Slasher film in unadjusted dollars, racking up over $255.6m in cinema ticket sales against a fairly small production budget of $10m. ‘The Shape Burns’ occurs during a pivotal moment in the film where Strode traps her old rival – Michael Myers – in the basement and sets him alight for the final time, presumably, since Myers also stars in ‘Halloween Kills’, the sequel that is now showing in cinemas. In the US, the new sequel is also streaming on some tiers of the Peacock streaming service for 30 days after its theatrical release. Another sequel after that – ‘Halloween Ends’ – will follow in 2022. Grab a slice of Barmbrack and hear The Shape burn below.

“We wanted to honor the original Halloween soundtrack in terms of the sounds we used”, Davies has explained in a press release for the reboot’s OST, adding, “Being limited by the length of time in scoring the sequence, we focused on the director’s tempo, timing, and vision. He would tell us what he had in mind, how long the cue should be, what emotion he wanted, and we would take it from there. It’s only the three of us, there is no elaborate system. We wrote, performed, and orchestrated everything”, to his notes for the OST’s release, with the aim of paying homage to the major ‘Halloween’ score that Carpenter composed and recorded in 1978. As with yesterday, I’ve attached a clip of the scene where ‘The Shape Burns’ is used below and a piece of the audio with a plain text background in this post – just for your preference of reference! At first instance, ‘The Shape Burns’ feels surprisingly very similar to the ‘Michael Kills Judith’ stinger from the original film that we explored yesterday and that is because Carpenter and company bring back the tingling Synth melody that goes back and forth throughout the original soundtrack. Once again, things feel minimalist and the production design is not very elaborate, instead relying on rather simplistic melodies to convey emotions of bittersweet melancholy and taking the final stand that Laurie Strode and the other characters perform in the movie since the chords feel urgent. There’s less of an emphasis on tension, however, and more of an Orchestral style that suggests something has been paid off, mixing some feelings of triumph and relief in the contemporary score. It revisits the chilling Synths of the original score and the non beat-driven nature of the old soundtrack with the clear nods to Halloween’s late-70’s past, but there’s a higher tempo and some more varied Electronic keys sequences that inspires a ‘send-off’ or ‘battle’ theme, connoting a higher sense of action and pace in the recent film than the vintage one. The score taps into a slightly higher gear and it introduces some lower pitched Synths that feel more grand and cinematic than what came before, but the production methods still feel rather low-key and not too overly produced because the formula is kept simple. Overall, ‘The Shape Burns’ promises a thrilling and exciting sequence that hurtles the unsettling Strings at a neck breaking speed, while keeping the same Synth patterns and Lo-Fi production of the original score in tact. This move, in turn, adds new bells and whistles to the score in comparison to the original flick but it also manages to make it feel rather old and reminiscent of the original flick due to the clear similarities which point directly towards the late-70’s. How very Ghoulish.

If you are not currently up to speed on the first part of our Spooky series that began yesterday, check out these thoughts on ‘Michael Kills Judith’ from the original ‘Halloween’ score. Try not to get caught up in Michael Myers’ killing spree while you do it here: https://onetrackatatime.home.blog/2021/10/30/spooky-season-special-john-carpenter-michael-kills-judith-from-1978s-halloween/

  • Pictured: Cover Art for ‘Halloween’ (OST) (Released in 1979) (via Columbia Records/Varese Sarabrande)

That’s everything for now – and all for this year’s All Hallow’s Eve too. There’s no tricks tomorrow though, and just treats, as we jumpstart the beginning of the new month with new music from a new artist. It comes from a 17-year-old singer songwriter who is releasing her ‘Artificial’ EP next Friday. She makes indie alt-pop songs with a hint of psychedelia and jazz – and she has received daytime airplay from BBC Radio 6 Music.

  • Pictured: Actor Nick Castle with Michael Myers’ iconic Halloween mask (2018) (Photo by Ryan Green)

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Spooky Season Special: John Carpenter – “Michael Kills Judith” (From 1978’s ‘Halloween’)

October 30, 2021 — Leave a comment
  • Pictured: Actor Nick Castle with Michael Myers’ iconic Halloween mask (2018) (Photo by Ryan Green)

Happy All Hallows Eve! I’m Jacob Braybrooke, and I’m wishing you a spook-tacular season with a two-part spread of new posts where we compare the work of John Carpenter’s music for the original 1978 version of ‘Halloween’ and the recent 2018 rebooted edition, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Born in Carthage, New York – John Carpenter is an American film director, composer and producer who is known for films like ‘Dark Star’ (1974), ‘The Thing’ (1982), ‘Big Trouble In Little China’ (1986) and ‘Vampires’ (1998), with the latter earning him a Saturn Award for ‘Best Music’. His films range between cult classics and commercial successes, but he was given the Golden Coach Award by the French Directors’ Guild in 2019 at the Cannes Film Festival for his overall contributions to cinema as an art form. Carpenter also holds a Commercial Pilot’s Licence and he has appeared in many of his own films as a pilot with a rotorcraft helicopter in cameo roles. None of his movies arguably scream seminal quite like his famous 1978 horror film, ‘Halloween’, which was selected for preservation in the US National Film Registry by the Library Of Congress for being “culturally, historically or aesthetically significant” in 2006. It remains to be one of the most profitable Indie films of all-time following its release way back in 1978, and it has grossed over $70m globally. The success of ‘Halloween’ kicked off a long line of Alfred Hitchcock-inspired Slasher flicks, and it has spawned a media franchise of sequels, remakes, reboots, novelizations, comic books and video games in the years to follow. The plot of the film follows the events of mental asylum patient Michael Myers, who was committed to a sanitarium for murdering his babysitting teenage sister on Halloween night – October 31st – when he was six years old. Fifteen years later, he’s on the loose and he escapes to his hometown, where he stalks a female babysitter (Laurie Strode, played by the very famous actress Jamie Lee Curtis), while being pursued by his Psychiatrist. It sounds like terrifying stuff – although I’ve only ever seen bits and pieces of the original film and the 2018 reboot, which we’ll be discussing to see what has changed (or not) tomorrow in musical terms. We’re going to listen to the music that plays in the opening scene where Michael kills his sister Judith, the catalyst for all of the stories that followed, from the original soundtrack released in 1979 in Japan, and 1983 in the USA. Grab your Pumpkin Spiced Latte and get in the seasonal spirit below.

‘Halloween Kills’ is the latest film in the series, which is showing in cinemas now. In terms of the original soundtrack, however, it was originally falsely credited to the Bowling Green Symphony Orchestra because one of the film’s producers felt that it wouldn’t be taken seriously if credited to Carpenter honestly. However, the harsh Synth theme of the film seems more famous than the film itself in some ways, and so the joke’s on them. Carpenter also states in several interviews that his father was a music professor who taught him to play a drum beat on the Bongo’s in a 5/4 time signature when he was a child, and that was the key inspiration behind the notable, abrasive Synth chords in the film that run throughout the score. I’ve included the scene where ‘Michael Kills Judith’ is used in the film for your reference, and a plain text background featuring the music itself above, just for your preference of reference! Anyways, it is easy to see that Carpenter wanted to capture a very seriously murky and uneasy atmosphere for his score, and he packs a lot of minimalist suspense material that basically acts as a recapitulation of the same eerie Synth motifs of the ongoing music into the scene. He doesn’t try to replicate a fake imitation of an orchestra playing the music, and he instead leans in to the unusual Drone sounds of the spacious instrumentation that he uses quite scarcely. The Synths are piercing and unpleasant as the original Synth sections from the original theme music keep replaying, but the opening music of the scene is not beat driven at all, and the chords and melody is barely existent. Instead, we get a slow and plodding build to some jump scare-ish like rhythms as the ghostly Piano music uses its few melodies to key effect and flutter beneath the long, Drone sequences of Ambient production. The sound quality is very good, but the patterns are irregular and they create a sense of ‘unearth’ and discomfort when you listen to it since there’s no emphasis on consistent hooks or very frequent patterns. However, there’s a slight glistening effect of the Synths at the start that could lull you into a sense of security that later proves to be false. In conclusion, this is a great part of the official soundtrack because it creates the atmosphere of inevitable stabbing and subtle tone changes to complement the horrific visuals of the movie scene while using elements of Drone music and Ambient classical music to create abnormality and uncanny emotions for the listener through the uneven instrumental patterns that are difficult to predict. It doesn’t necessarily frighten me or even scare me, but it manages to put me on edge a little bit since it prepares me for the dark and occasionally Gothic, yet coherent material of the movie.

That’s all for now! As mentioned, we’ll be comparing and contrasting the soundtracks of two of the more popular ‘Halloween’ films over the weekend, and it continues tomorrow when we listen to something from the more contemporary reboot of the series from 2018, which broke prior box office records held by ‘Scream’ on its release.

  • Pictured: John Carpenter (2021) (Photo Credit: Marlow Stern/Abaca Press/AP/TheDailyBeast.com)

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Way Back Wednesdays: Patti Labelle – “Music Is My Way Of Life”

October 27, 2021 — Leave a comment
  • Pictured: Cover Artwork for ‘It’s Alright With Me’ (LP) (Released on March 2, 1979) (via Epic Records)

Good Morning to you! You’re reading the words of Jacob Braybrooke, and it is time for me to get typing up for yet another daily track on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! As a diva that is responsible for selling over 50 million records worldwide, an actress who has appeared in productions like ‘Dancing With The Stars’ and ‘American Horror Story: Freak Show’, and an entrepreneur with a star on the Hollywood Walk Of Fame, as well as a lifestyle TV host for ‘Living It Up With Patti LaBelle’ and an inductee of the Apollo Theater Hall Of Fame, the question for Patti LaBelle is more clearly: What hasn’t she done? For her musical career, she started singing at church and later formed a vocal group, Patti LaBelle and The Bluebelles, which later became simply known as The LaBelles, and they scored a US #1 single with ‘Lady Marmalade’. As a solo artist, she set the R&B genre alight once again with ‘It’s Alright With Me’ in 1979, her third full-length LP, which she produced alongside the Grammy Award winning mixer Skip Scarborough, and the album enjoyed a sizable run of mainstream radio and chart success, reaching the #33 position of the US R&B charts. ‘Music Is My Way Of Life’, later to be remixed by electronic music producers like Joey Negro and John Luongo, soon became an ultimate R&B/Disco classic of the late 1970s. Follow her philosophy below.

One of the most interesting facts that I’ve read about the Pensylvania-born singer is that, in 2015, she released her own ‘Patti’s Sweet Potato Pie’ to the US supermarket shelves, and, due to a YouTube video praising the product shortly going viral, literally sold like hot cakes, as if they were, and shifted millions of units where, through the result of a 72-hour period, Walmart reportedly sold one pie every second. An 8-minute dance stomper, 1979’s ‘Music Is My Way Of Life’ came around when Disco was huge and hit a commercial peak, although LaBelle mixed things up a little by working with Scarborough, known for producing his romantic ballads, to create arrangements that were more sleak and intricately designed. ‘Music Is My Way Of Life’ isn’t a slow jam however, and it provides a lot of Disco grooves instead. Lyrics like “When I dance they look at me, That’s the one thing you can’t take from me/That’s the music that I feel in my soul” and “When the daylight comes and I’m leaving the dancefloor/By night time, I’ll be back for more” feel exuberant and triumphant, and it is filled up with feel-good instrumentation to boot. The Jazz elements shine through clearly, and there’s plenty of guitar licks that keep proceedings feeling upbeat and light-hearted. The vocal performance is strong, and LaBelle sings about how music shapes her identity and how dance music brings her together with loved ones with a convincing passion. The track is also filled with a floating Piano line of chords that add to the Jazz sound, and the Horn section creates another soulful groove. Overall, ‘Music Is My Way Of Life’ is a classic due to it’s traditional Jazz and Funk grooves, and it’s open-armed embrace of unity and Disco. If that is her philosophy – then It’s Alright With Me.

  • Pictured: Patti LaBelle at the BET Honors at Warner Theatre, Washington (2016) (Photo by Paras Griffin)

Thank you for checking out my latest throwback track post on the blog today, and I’ll be back tomorrow for a long-awaited debut appearance on the music blog from an emerging female-led Post Punk band from the Isle Of Wight who will be touring in locations such as Cambridge, Oxford, Guildford and Reading in the winter months. Signed to Chess Club Records – the home of artists like Sinead O’Brien and Phoebe Green – the 4-piece have been praised by UK newspapers like The Observer and The i.

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Today’s Track: Sea Girls – “Sick”

October 25, 2021 — Leave a comment
  • Pictured: Cover Art for ‘Homesick’ (LP) (Available from January 14th, 2022) (via Polydor Records)

Good Morning to you! My name is Jacob Braybrooke and I’m wishing a well-deserved rest during half term to any teachers and teaching assistants in the UK who may be reading this post – while also reminding you that it has always been my day-to-day pleasure to write up about a different piece of music every day! Sea Girls are another one of those major label ‘Indie Rock’ bands like Blossoms and The Magic Gang that I have heard quite a great deal of critical praise and general information about, and so I have had some fun listening to their new single ‘Sick’ ever since I read about their upcoming second album ‘Homesick’ that is set to be released on January 14th in 2022 via Polydor Records. Known for their energetic live shows, Sea Girls are a London-based group that only began playing together six years ago and they seem to have achieved a rather decent amount of chart success in their time together, including mainstream exposure from radio stations like BBC Radio 1 and Radio X, giving them daytime airplay, and their debut LP, 2020’s ‘Open Up Your Head’, reached the #3 spot on the UK Singles Chart. ‘Homesick’ releases next year, and the aptly titled lead single ‘Sick’, according to their frontman Henry Camamile, is a more deeply personal record, saying, “I am sick of everything – from things I used to love through to the things that feel vacuous, like consuming and buying. All these emotions are piling up and it’s me just asking for a reset, a childish solution”, to the press. Vent out your concerns below.

‘Sick’ represented a turning point for the development of the upcoming new album for Henry Camamile, who had returned to the sights of his own childhood home in Lincolnshire to self-isolate during the Covid-caused national lockdown periods of 2020, and found himself having to re-address the good and bad events of his past, and he says, “It was a turning point in the writing for this album where the songs became about worrying for other people and how they were feeling. The pivot where I started writing clearly with a broader perspective. I literally feel myself growing up throughout this song”, in a press release. Starting off with some shifting Synth patterns and a rhythmic drum beat, Camamile simply lists off the things that he’s ‘Sick Of’, like his tendencies to get drunk and sober again, the news and how the wider media represents different topics and people, and the toxic relationships that he’s got going on in his life, and a few more witty quips about how The Beatles are over-played and how his friends are treated by their partners, and the long tirades build up to a catchy chorus where he wishes to find innocence as a child again and how his youth was a momentary bliss for him. There’s also some forgiveness for his parents towards the latter end of the track, and so the cycle of not accepting himself and others on surface value draws to a natural conclusion. The band support him with some vaguely Soulful backing vocals, and the instrumentation is mostly packed with some chugging guitar riffs with a little distortion, and very polished Synth effects that give the intentional repetition of the lyrics a little more variety in sound to work with. It is simple stuff, but it works, and I felt this was definitely above average for the ‘Indie’ era of Pop and Rock that we currently experience in spades. Firstly, the vocals come across quite naturally and there’s no use of auto-tune at all, and so there’s a nice serving of personality that comes across from Camamile’s delivery. On the one hand, it feels like a casual Rock tune about the ongoing pressures that build in our conscience with each day and the tampering of our own frustrations, but there’s also a sense that it is capturing the general morale of the times and connecting with the themes of Covid-19 in an accessible way. While the lyrics are quite repetitive, there’s enough variety in the Synths and the fragmented guitar riffs to keep things moving along without getting too restless. My criticism remains with these types of bands – also like The Lathums and The Kooks – in which this is really not an ‘Indie’ song because they are signed to a major label, and it is an issue in the general industry that irks me as opposed to a nitpick of the track itself though, mind. Finally, there is also a very conventional Pop song structure to the track which plays things a little safe for me. Other than that, I found myself enjoying ‘Sick’ more than I expected to when I read the press release. The lyrics and vocals are both polished without making the frontman sound robotic, and the track has a blunt force to it’s overall package that works well, creating a straightforward Rock track that orbits around some relatable commentary on our recent events nicely and with a personal quality that suits the skills of the band decently – yet some people are only happy when they are moaning!

That’s enough blogging for another day! Thank you for reading my latest post, and I’ll be back tomorrow for a deeper look at an Alternative Pop project from Melbourne, Victoria who have just released a new album – ‘Barnyard’ – over the past weekend. The duo have performed at South By Southwest and they began their musical journey together, in 2013, when the two members split up the cost of a Foxtex between them.

  • Pictured: Henry Camamile (Lead Vocals/Rhythm Guitar), Rory Young (Lead Guitar), Andrew Dawson (Bass Guitar) & Oli Khan (Drums/Vocals) at Latitude Festival (2021) (Photo Credit: Patrick Gunning)

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Scuzz Sundays: One Eyed Doll – “Committed”

October 24, 2021 — Leave a comment
  • Pictured: Cover Artwork for ‘Hole’ (LP) (Released on 1st January, 2007) (via Self-Released)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for us to revisit some ghosts of Pop-Punk’s past for another weekly edition of ‘Scuzz Sundays’ on the blog – not forgetting that it’s always been my day-to-day pleasure to write up about a different piece of music every day! When you think back to the music that channels like MTV, Kerrang and Scuzz supported back in the 00’s, it was a sadly very male-dominated picture. However, one of the few female artists who “kicked ass and took names”, as wrestler Stone Cold Steve Austin would have said on old WWF re-runs, was Kimberley Freeman – the brains behind the operation of One-Eyed Doll, a Gothic Rock duo that she leads with Jason Rufus Sewell from Austin, Texas who were voted as the ‘Best Punk Band’ at the Austin Music Awards at SXSW three years in a row – 2009, 2010 and 2011. Known for her acrobatic and high-energy live performances, her trademark high kicks, her unique baby voice that resembles both Serj Tankien and Jack Off Jill on some different occasions, and her pony-tailed Harlequin aesthetic, Freeman was featured as one of Revolver Magazine’s ‘Hottest Chicks’ in 2011, 2012 and 2015, and so representation of talented women in the industry sadly didn’t make many moves for the better just yet. Still, she has also been featured in Guitar Player Magazine’s list of the ‘Top 20 Most Extraordinary Guitarists’, and One Eyed Doll have racked up over one million views on YouTube despite being a pretty niche band, and so the modern times are treating them rather well. The band are still recording music and touring today, with 2017’s ‘Something Wicked’ EP being their last release of original, new music and 2018’s ‘Holier’ serving as a remixed edition of their well-received debut LP, 2007’s ‘Hole’, as well. They even shot a new video for ‘Committed’, which you can see below.

The cool Texan duo have a combined discography of 11 full-length album releases to their name, and their music has been used in several different pieces of media like television shows, online streaming series, video games and movies, including a very notable feature on MTV’s ‘Road Rules’ series, and the band have also developed a niche from performing strongly at major Anime comic conventions like DragonCon, and including the headline slot at the 4&20 Blackbird Festival in California. Taken from their 2007 debut album, ‘Hole’, originally, ‘Committed’ follows Freeman’s typically eccentric vocal style by essentially being written about an imagined life in a mental asylum, with straightforward lyrics like “How I wish this room was vacant/Can’t seem to break through these padded walls” and “Kicking, screaming, drooling, biting/They say there’s no use in fighting” that set up the scene visually, and feel a little funny in the process. The verses have a rough, Garage sound behind them with chugging guitar riffs and uptempo Drum melodies, with a fade out in time for the bridge where Freeman sings “One more mark against society/Can’t you see I’m not a threat” atop some muted melodies, and she begins to make a quirky social commentary of some form. The perspective of singing as a mental patient feels a little ambiguous, and so the track could probably be interpreted in different ways, such as to be about the treatment of the mentally ill in society or the perception of ‘crazy’ as a construct of stereotype, but the erratic guitar riffs and the jagged bass melodies keep the track feeling catchy and easy to remember for a short while, with a chorus that gets wild and a final guitar solo that unleashes pure Punk mayhem onto your brain cells with the short bursts of frantic guitar riffs and the variety of the noise collage. Though it may get a little bloated or baggy for some, I enjoyed how elaborate the sound truly is and Freeman strikes me as a creative person who may be a little shy or awkward, but doesn’t compromise on her true artistic vision for her music. This was a lot of fun overall, and certainly above average for the Pop-Punk scene of the time that relied on the likes of Sum 41 and The All American Rejects to sell tickets. It just feels more quirky than those bands, who were definitely serviceable, but ‘Committed’ was a burst of colour. Variety is the splice of life – and Freeman has plenty of it in the tank.

  • Pictured: Kimberly Freeman (Lead Vocals/Theremin/Kazoo/Rhythm Guitar/Percussion) and Jason “Junior” Rufus Sewell (Drums/Bass Guitar/Synths/Keyboard) at Rockfest (2019) (Photo by Mark Scott)

Thank you for checking out today’s post, and I’ll be back tomorrow for an in-depth look at a well-emerged UK indie rock band who, in a similar vein to Foals and The Vaccines, are another part of the recent resurgence in British guitar rock music. They were nominated for one of BBC’s ‘Sound Of…’ awards, and their newest single was premiered on BBC Radio 1 as Arlo Parks’ “Hottest Record In The World” in September.

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Today’s Track: Unknown Mortal Orchestra – “That Life”

October 23, 2021 — Leave a comment

  • Pictured: Ruban Nielson (Lead Vocals/Lead Guitar/Piano/Keyboard), Jacob Portrait (Vocals/Bass Guitar/Synths) and Kody Nielson (Drums) in a photoshoot for NPR’s ‘World Cafe’ series (2014) (via PR)

Good Morning to you! You’re tuned into One Track At A Time and this is the point where I – Jacob Braybrooke – get typing up for yet another daily track on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! ‘That Life’ comes to you from the fairly well-established Prog-Rock band Unknown Mortal Orchestra, who have been a hit with Psych Rock music fans throughout the 2010’s, originally gaining traction from Pitchfork critics for their uncredited debut single in 2010, before they took home the Taite Music Prize in 2012 for their self-titled debut LP that they released a year prior. The trio, who used to be a quintet, are from New Zealand and were formed in Auckland, and are currently based in Portland, Oregon where they continue to craft idiosyncratic rock music. The group have spent their time between the Fat Possum Records and Jagjaguwar labels, and they have embarked on mostly sold out tours across North America, Europe, The UK, Australia and New Zealand across their time. ‘That Life’ captured my attention due to the amusing music video – despite my relative unfamiliarity with the back catalog of the band – which features a very likeable dancing blue puppet that was created by puppeteer and fabricator Laura Manns, who is the creator of the puppets seen on ‘The Muppets’ and ‘Sesame Street’. Directed by Lydia Fine and Tony Blahd, their recent single follows the release of another single, ‘Weekend Run’, that was doing the rounds of the indie radio circuit across the summer. Ruban Nielson’s gang of non-conformists haven’t announced a follow-up album to 2018’s ‘IC-01 Hanoi’ – which received good reviews – just yet, however, logical time gaps and the steady release of some singles dictates that a new album is coming out. Put your feet up and enjoy ‘That Life’ below.

“I saw this painting by Hieronymus Bosch called The Garden Of Earthly Delights and in the painting there was a mixture of crazy stuff going on, representing heaven, earth and hell”, frontman Ruban Nielson explained in a press statement, adding, “When I was writing this song, That Life, I was imaging the same kind of ‘Where’s Waldo’ {Known as Where’s Wally? in most other countries} of contrasting scenes and multiple characters all engaged in that same perverse mixture of luxury, reverie, damnation, in the landscape of America. Somewhere on holiday under a vengeful sun”, and thus Unknown Mortal Orchestra’s latest official music video for ‘That Life’ was born. The sound itself isn’t too heavy or raw, and it feels quite warm and breezy instead, replicating more of a beach theme than a chaotic one. Key refrains like “All day swimming, Under the Palm trees, look how they gracefully sway” and “Some kinda gin drink/Some kinda jewelry/Some kind of fancy machine” are lyrics that muse over the small pleasures of life, the treats that people strive to achieve because they are perceived as wealthy and glamorous, and how expensive items represent grandeur that can be sometimes taken for granted by the upper class of society. The lovable, if greedy, puppet in the video proclaims that he’s always going to be about “That life” to a tuneful and radio-friendly chorus that feels cheerful and accessible. The fancy costumes also include multiple nods to outfits the band have worn on stage during certain points in their career too, and so there’s a decent amount of fan service hidden in the music video as well. The instrumentation goes for a pretty sentimental mix of 70’s Rock ‘N’ Roll that nods to bands like The Who gently, and some more contemporary Soul molded together by soulful hooks and funky guitar licks. Nielson’s vocals are also given some light distortion effects to evoke the classic rock vibe and make proceedings feel a tad psychedelic in tone too. There’s also a subtle nod to traditional Disco music in the steady groove too. Overall, I thought this was good. Probably not great, since I found the chords to sound a little dull and the lyrics rather predictable, but I like the idiosyncratic bridge and the visual inspirations behind the tune, so a lot of work clearly went into the graphical side of things. This is also one of the most memorable music videos that I have seen in quite some time too because it fits the overall vibe of the track very nicely while feeling a little nostalgic and quirky in mood. This is the type of music that I feel the likes of BBC Radio 2 should be playing regularly because it is quite universal to a wide audience without playing things too safely, but it’s easy to listen to. A decent commentary on life and perception of luxury.

  • Pictured: Unknown Mortal Orchestra in promotional art for ‘Multi-Love’ (2015) (Photo via DIYMag.com)

That’s it for today! Thank you a lot for your time, and I’ll be back tomorrow for ‘Scuzz Sundays’ with a post dedicated to one of the, very sadly, few female icons of the male-dominated 00’s Pop-Punk music scene that Scuzz TV, and Kerrang would have supported. The track comes from a cult favourite Gothic rock duo from Austin, Texas whose memorable frontwoman was featured in Guitar Player Magazine’s Top 20 Most Extraordinary Guitarists list – and whose music was used in MTV’s ‘Road Rules’ series.

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Way Back Wednesdays: Bridget St. John – “Autumn Lullaby”

October 20, 2021 — Leave a comment
  • Pictured: Bridget St. John performing in ‘The Schoolhouse’ in Brooklyn (2016) (Photo by NYCTaper.com)

Good Morning to you! This is Jacob Braybrooke, and since the leaves are all looking fully browned and the rainy nights have been drawing in earlier, now marks the time for a rather seasonally themed edition of ‘Way Back Wednesdays’ as we look back at some of the influential sounds of the past, since it has always been my day-to-day pleasure to write up about a different piece of music every day! Hailed up as “The best lady singer-songwriter in the country” by soon-to-be BBC Radio 1 host John Peel, who produced her material and released it on his folded Dandelion label during the 1960’s and 1970’s, Bridget St. John is a Surrey-born Alternative Folk singer-songwriter and guitarist who is now approaching 76 years of age, but she has achieved many accomplishments during her career of writing and recording music despite remaining in relative obscurity. Sadly, the industry was more male-dominated at the time and she never quite received the type of recognition that she now gets in her time, but she still has recorded a large number of BBC Radio and Peel Sessions, as well as toured regularly on the British college and live festival circuit. Known for her “rich cello-like” vocal style, St. John has appeared at leading folk venues across the globe and she has performed alongside similar luminaries of her time like David Bowie, Nick Drake and Paul Simon throughout her storied history. ‘Autumn Lullaby’ serves as great mood music for a month like this, and it was the second track on the listing for her debut album, ‘Ask Me No Questions’, which was originally issued for release in 1969 and it featured guest spots from John Martyn and Nigel Cross, who played guitar and helped her to produce the music. It got a remastered release from cult favourite label Cherry Red Records in 2010, and the album received decent reviews at the time from the music press, although it found little commercial success due to a lack of promotion relating to the budgetary constraints of Peel’s Dandelion label, with AllMusic’s Richie Unterberger calling the record “Music for wandering through meadows on overcast days” in his favorable review for it. Soothe your stresses with ‘Autumn Lullaby’ below.

Some copies of ‘Ask Me No Questions’ changed hands for up to £100 before it was remastered by revival specialists Cherry Red Records, and, in 1974, she was voted as the fifth most popular female singer in that year’s Melody Maker readers poll. In modern times, St. John continues to perform live, including shows as recently as an intimate gig at Birmingham’s Moseley Folk Festival in 2018, and she still records some new music from time to time, including the cut ‘Fly’ for Mojo Magazine’s Nick Drake compilation album ‘Green Leaves: Nick Drake Covered’, issued that same year. The theme of ‘Ask Me No Questions’ was to produce autumnal-sounding songs that simply speak for themselves, and her rather woeful lyrics like “October, standing on Primrose hill, feeling the wind breathe in and out” and “As Autumn comes, I stay behind and gather sounds she leaves for me” set the scene very blissfully, with more personal lyrics like “Through water whispers, grokking weeds/I sing her autumn lullaby” and “The evergreen is ever free/I hear her, I remember this” follow up on the steam that she has built up shortly. She simply sings about the tides of change and what the changing of the seasons reveals to her intimately, but her voice is stunning and she has a whimsical power of making things just stop for a moment when you hear the vocals. The warm, low-pitched croon and the gently philosophical, story-driven brand of songwriting definitely remind me of Jens Lekman, and the subtle images of pastoral melancholy and emphasis on soft emotions feel hugely influential to the likes of Fleet Foxes and Father John Misty for my ears. The instrumentation is a wholly acoustic and nearly self-produced Folk affair, with brief washings of the guitar that are low-key and introspective whilst slightly sad and understated in tone. There are hints of comfort and inner warmth, but the sound also resembles one of longing and pining. Overall, this is a lovely no-holds-barred and divinely autumnal effort that really captures the duplicitous essence of our current season, and it really makes me want to hear the full album in a single sitting. It is a shame that chart success never followed her through these seasons and that BBC disc jockeys failed to play her work much in her time, and it is easy to wonder why. However, she doesn’t truly need it to make a strong impression because, as she aimed for, her songs speak for themselves.

  • Pictured: Cover Artwork for ‘Ask Me No Questions’ (LP) (Released in 1969) (via Dandelion Records)

That brings us to the end of the page for another day! Thank you for spending a few minutes with me today, and I’ll be back again tomorrow with an in-depth review of some new music from a London-born electronic music producer, studio engineer and DJ who is a modern icon of the LGBTQ+ community. She has released plenty of music using her side project alias of Nocturnal Sunshine and she was previously a part of the Electro-Dub duo ‘She Is In Danger’ with Lena Cullen. Her new LP is out next Friday.

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