Lady Leshurr

“I started thinking, ‘You know what? Why don’t I just rap?’ Because it’s just poetry with a beat behind it, really.”

Lady Leshurr in The Guardian.

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The Listening Service: Tom Service

 

BBC Radio 3: The Listening Service, with Tom Service

It’s a BBC radio programme. It’s a podcast. It’s a store of animations. If you’re interested in music, of any flavour, Tom Service‘s programme will make you think, and help you think better:

• Why does music move us?
• How did the number 12 revolutionise music?
• Why do we love repetitive music?
• Whatever Happened to the Waltz?

If you’re a writer, try:

• What Makes a Song?
• How do you describe a teaspoon in music?
• How Do You Make a National Anthem?
• The Power of Love Songs

It’s a deep, delicious, musical treasure chest for listeners and creators. Enjoy!

©SingBetterEnglish2017

Exploring Life on Mars

“I somehow got hold of a completely white studio and that dictated the concept – it was as simple as that. We showed up around noon, because none of us liked to start too early.

David looked amazing in his blue suit – it was made by his mate Freddie Burretti, who made the Ziggy costume. Pierre Laroche, who also worked on the Aladdin Sane cover, did the great makeup. And there we were – we just shot for no more than five hours”

Mick Rock, director/2nd cameraman

Sadly the BBC has taken their January 9th radio programme Exploring “Life on Mars” down from iPlayer. If you can find it somewhere else, it’s worth listening to. It’s not just another Bowie anniversary documentary. Tris Penna located Bowie’s original demo tape for the song, along with unreleased archive BBC interviews and audio.

If you write songs in English, you’ll find the whole programme useful. Go to 24 minutes in to hear how the lyrics of Life on Mars changed as the song developed. It’s an inspiration if you’re struggling to find the ‘right’ words.

If English isn’t your first language: keep the ar of Mars soft and smooth when you sing Life on Mars. Why? 

• If you roll the r  –  rrrr – ‘Life on Marrrs‘ – you’ll need to shorten the a sound before the r, to make the word Mars fit the musical notes.
• Shortening the ar removes the ‘endless space’ feeling of Bowie’s soft ar in Mars. And it makes the Mar-ar-ar-ars sound of the song very difficult to float.
• It’s possible, anything’s possible, but you need to be aware of what you’re doing and to adjust the sound as you sing.
• How to make the soft, easy English ar sound, and how Bowie switches between the American version and the British version of the ar sound to flavour his songs. Space has more than one meaning and using different ar sounds makes the meaning crystal clear.

Mick Rock’s 2016 reworking of the original Life on Mars video:

Which version do you prefer? I find the last few, black and white seconds of the reworking poignant and I like it as a ‘making of’, but I don’t like the fact that Mick Ronson‘s guitar and Woody Woodmansey‘s drums are missing.

©SingBetterEnglish2017

Paul McCartney

If you’re a musician, a songwriter, or simply a lover of music, you’ll find Paul McCartney’s extended interview/Q&A on BBC Radio 4’s “Mastertapes” fascinating.

The longer, downloadable radio version is here.

The video version is edited, with about 10 minutes removed, so, if you like A Day in the Life, find 24:25 minutes into the radio interview. McCartney talks about the shared songwriting with Lennon, about John Cage’s influence on the sound and about George Martin persuading the orchestra to follow unusual musical instructions. Paul says one member of the orchestra walked out in disgust when he was asked to ‘clap on the end of Hey Jude‘.

There’s something for everyone! If you teach music to children,  Paul has suggestions for inspiring lessons here.

© Sing Better English, 2016

 

Building a song

“Steve Earle has lived through the sort of horrors that have launched a million country songs: addiction, affliction, heartbreak, even prison. He wears them in his voice, but what’s most appealing about him is the wide-eyed, unmistakable fearlessness with which he goes about his life these days”     NPR Tiny Desk Concerts

Steve Earle and Shawn Colvin sing “Tell Moses” and chart the steps in its creation. How they bound Moses, Martin Luther King and Ferguson, Missouri together in words and music, in answer to the question: “What’s to be done?”:

In a Broken Dream

“It was my mate who convinced me to do it. He ran a car showroom, and he said, ‘I’ve got this group come from Australia, but the singer’s not very good. Can you do a demo for me?’ I said, ‘What do I get?’ He said, ‘Well, I don’t have any money. I’ll give you a set of carpets.’ That was 1969″

                                                                                                                         Rod Stewart

Summertime Sadness: the shape of words

If you’re thinking of writing a song in English, choose words for their shape as well as their meaning. Meaning can float in the air (“I am the Walrus?”) but the shape of English words in song must align with the feeling of your music.

Think of Lana Del Rey’s Summertime Sadness. From the title to the chorus it’s a masterful mix of sound shapes. Summertime: soft, warm and measureless. Sadness: deep and hazy. Together, each intensifies the other. I’ve chosen Miley Cyrus’ cover version, from BBC Live Lounge. You can see how Miley shapes her mouth and where she breathes, to allow each word its languorous character:

The Weeping Song

Weeping is an ancient English word. Its sound and shape are crafted to speak directly to the human heart. We feel it; we don’t think it:

Hocus Pocus

“It’s funny because I studied a lot of classical piano, organ and flute, but I never studied yodelling. And it made me famous throughout the world. It’s really funny.”

Lorde: Yellow Flicker Beat, live at the BBC

There’s a point at which all the conscious thought and preparation for a song composts down into pure energy. The singer lives the song and the song lives in them. It’s a privilege to watch alchemy in action:

© Sing Better English, 2016

Sister Rosetta Goes Before Us

Sister Rosetta Tharpe, making the musical most of a rainy day in the North of England:

Joan Baez and Judas Priest: Diamonds and Rust

Judas Priest added more than a touch of heavy metal to Joan Baez’s Diamonds and Rust. But listen to the beating heart of Joan’s song: time and the wistful distance of memory, coming through in Rob Halford‘s voice, between the electric guitars and the crashing drum, like a blackbird singing in a deep forest. Respect:

Black Raven

You won’t find a single word of English in it, but here’s an English question: what feeling does this Cossack song convey to you?

You don’t need to understand Russian  to play the game. Empathy is a universal:

Singing as slowly as a bird

One of 2015’s Brighton Festival treasures was Marcus Coate’s Dawn Chorus at Fabrica.

Imagine 14 humans, each in its ‘natural habitat’ (taxi, bath-tub, kitchen), sounding (and looking) like Northumbrian birds. The sound is all human, the speed is all bird: