Solomon Burke: The Soul King is Dead

On 10th October 2010 the world lost yet another legend when Solomon Burke was discovered dead by shocked air stewards on a flight from Los Angeles to Amsterdam. He had been on route to play a sold-out show and is reported to have died from natural causes.

When debating the greatest soul singers in history, Solomon Burke is often overshadowed by the fame of artists such as Otis Redding, James Brown and Aretha Franklin. Whilst the aforementioned are all undeniable contenders for the soul throne, it is Burke’s understated genius that in my view made his music all the more intensely powerful on a personal level. The singer himself once said, ‘If the message is meaningful in the beginning, it will reach across the waters and come back across time. If only one person is reached and touched by my songs, then the message through me is being heard, received and believed’.

Burke, who never relied on a set list during live performances, preferring instead to respond to requests and vibes from his fans, often described the thrill of sharing his music as a deeply spiritual experience. Philadelphia born Solomon explosively broke onto the music scene back in 1961 when his gospel roots led him to experiment with soul and blues. He was in fact creating a genre of his own when rock’n’roll had only just begun to erode the mainstream.

Burke reigned the 60s with velvety yet emotionally raw hymns to the soul that included ‘Everybody Needs Somebody To Love’, famously covered by The Rolling Stones, and ‘Cry To Me’. The latter is well-known for featuring in the 1987 film Dirty Dancing (it plays during the sex scene in Patrick Swayze’s bedroom, naturally). Having racked up seventeen million record sales worldwide, Burke was awarded a place in the Rock and Roll Hall Of Fame in 2001 and later went on to win a Grammy award in 2002 which helped re-introduce his music to our generation.

Having taken the meaning of ‘go forth and multiply’ a little too literally, 70 year old Solomon leaves behind a family of twenty one children, ninety grandchildren and nineteen great-grandchildren. His legacy has had an astounding influence upon songwriters throughout the decades so if you’ve never given the big guy with an even bigger voice a chance, do yourself a favour and look him up. At the very least, watch that Dirty Dancing scene.


'Cry To Me' plays in Dirty Dancing with Patrick Swayze and Jennifer Gray

The Catcher in the Rye: Questioning the Notion of 'Cool'

"What really knocks me out is a book that, when you're all done reading it, you wish the author that wrote it was a terrific friend of yours and you could call him up on the phone whenever you felt like it." As is Holden Caulfield’s theory on what makes a successful novel and The Catcher in the Rye by the late J D Salinger seems to fit it perfectly. Shrouded in both controversy and admiration, many teenagers will see themselves reflected in Holden, his disenchanted young protagonist.

Failing at school whilst struggling with the journey from childhood to maturity, the turmoils of youth are brilliantly portrayed through Holden’s experiences whilst Salinger’s effortless style and unapologetic humour are easy to relate to, inspiring young people to discover more about their individuality. Following his exploits in New York and psychologically affected by the death of his younger brother Allie, Holden reveals that he longs to become ‘the catcher in the rye’, preventing children from falling off ‘some crazy cliff’. His poignant desperation to protect innocence will strike a chord with anyone who has ever felt disillusioned with life.

Far from a comforting read, Salinger’s novel provides a disturbingly enlightening portrayal of an individual in conflict with the ‘phony’ world of adulthood from which he feels alienated. Readers will find themselves questioning society as Holden does, in a time when we are very much victims of modern culture, technology and all that is considered ‘cool’.

Link to Palatinate: http://www.palatinate.org.uk/indigo/books/palatinate-book-club-the-catcher-in-the-rye/

Fun, Fantasy and Fireworks at Bestival 2010

Splashing its colourful craziness all over the Isle of Wight, September’s Bestival sent the festival season out in a blaze of fancy dress glory. The usually peaceful island became a mind-popping candy shop of musical goodies as 50,000 happy campers piled onto ferries to begin their escape from reality.

The first day of the weekend extravaganza saw Example and Delphic transform the masses into high on blue smarties kids, whilst Californian songstress Lissie sparkled with that unmistakable ‘let’s skip through cornfields with flowers in our hair’ vibe. Meanwhile, over in the Big Top, an expectant crowd burst the tent’s seams to hear what Mercury Prize winners The xx had to offer. Later that night Dizzee ‘Dance Wiv Me’ Rascal drove his hyperactive audience bonkers for his energetic set, the highlight being his own dirtee version of Nirvana’s ‘Smells Like Teen Spirit’.

Saturday’s fancy dress parade (for which the theme was ‘fantasy’) sadly suffered from a typical English downpour yet many loyal fans still gathered to support Oxford quartet Stornoway. Fortunately reggae band The Wailers (of Bob Marley fame) soon cast their Caribbean spell and the sun magically shone to the tune of ‘Three Little Birds’, whilst The Correspondents whirled up a fantastically eccentric storm with their electro-swing remix of The Jungle Book’s ‘I Wanna Be Like You’. Brilliantly extroverted with the use of an on-stage trampoline and treadmill, they pulled some outrageous shapes as their oh-so-Soho style enthralled the crowd.

Fiesty little Ellie Goulding surprised everyone yet again with her powerful vocals as she refused to let herself be lost on the main stage. However, the crowd seemed reluctant to show as much enthusiasm for her set as they had done at Newcastle’s Evolution back in May, perhaps due to the rife and rather impatient anticipation for Radio One’s Festival Band of the Year, Mumford and Sons. The bass and banjo yielding foursome drove the crowd to a palpably high level of triumphant folk-induced ecstasy, satisfying their audience’s ravenous musical appetite with all the rousing hits from ‘Sigh No More’. Stunning new song 'Lover of the Light’, previously tried and tested at their Newcastle Union gig back in March, was well received amongst a set that could easily have been mistaken for a greatest hits album. Dressed as a musketeer, Marcus, an infectious post- ‘Little Lion Man’ grin on his face, yelled ‘I’ve never seen so many superheroes singing ‘fuck’ at the same time!’ to a great many face-painted cheers. If these lovely London lads aren’t headlining soon then I’ll stick my head down a festival portaloo.....maybe.

As the evening drew in the hotly tipped Roxy Music made the error of saving all the classics until the end of their set and dapper frontman Bryan Ferry instantly gained bore points for wearing a suit. Luckily Wayne Coyne of The Flaming Lips showed them how it’s done with glitter explosions and strobe lighting as he crowd-surfed in a giant zorbing ball to the psychedelic beat of his band.

Sunday saw French hip-hoppers Wax Tailor throw some European flair into the line-up and a variety of previously unknown performers promote themselves in the environmentally-friendly Tomorrow’s World. Following a DJ set from Bestival creator and Radio One legend Rob da Bank, Chase and Status ignited the main stage coals for closing headliners and original rave kings The Prodigy. Even the most tired and hung-over of the latter’s 'Voodoo People' were worked into a frenzy with riotous anthems ‘Firestarter’ and ‘Omen’. As the fantasy castle bonfire was lit and fireworks exploded across the sky, it was clear that this was one party nobody ever wanted to end.

Link to Palatinate: http://www.palatinate.org.uk/indigo/music/bestival-2010/

Irish indie film Once proves that it doesn't take a monster budget to make a marvel

Once was shot in only seventeen days back in 2006 and, in my humble opinion, the film world is a great deal better off for it. This Irish gem, written and directed independently with a tiny budget, was highly revered amongst critics upon its release, with the hauntingly emotive ‘Falling Slowly’ winning an Academy Award for Best Original Song.

The storyline may sound cheesy and clichéd but the reality could not be more delighfully different. An unnamed busker nervous about performing his own songs meets a Czech immigrant girl who is selling roses on the same Dublin street. They form an unlikely bond through their passion for music, as both attempt to express their feelings and experiences of loss and love to one another through their songwriting. Musicians primarily, lead actors second, Glen Hansard and Markéta Irglová composed and performed the soundtrack together. A little bit of research tells me that folk royalty Bob Dylan was such an avid fan that he invited the pair to support him during some of his world tour shows. The duo also covered ‘You Ain’t Goin’ Nowhere’ for the 2007 film about his life, I'm Not There.

Once is charmingly unpretentious and believable, with an intimate integrity far deeper than so many overstated romantic blockbusters. The honest portrayal of two strangers struggling with inherently human turmoils restores faith in the importance of music and friendship. A rough diamond of a film, its unpolished nature is what ultimately, and somewhat ironically, allows it to sparkle.


Trailer for Once, released in 2006.

Hitting up Guardian HQ!

The video shown below for 'I Heart NY' may feature Samuel riding on the back of a garbage truck, but in real life the 22-year-old found his way into the more glamourous environs of Kanye West's blog with his recent cover of Drake's 'Find Your Love'. 'I Heart NY' could be considered a lyrically downbeat antidote to 'Empire State of Mind', with Samuel paying tribute to the backstreets of the flashy metropolis, where so many are "made to grow up and be famous". Insanely (and almost irritatingly) catchy.

Link to my post on The Guardian's new music blog: http://www.guardian.co.uk/music/musicblog/2010/aug/19/samuel-i-heart-ny

Folky Fusion in India

Whilst touring India last Christmas, British folk treasures Laura Marling and Mumford & Sons experimented with native Rajasthani musicians to produce an irresistibly sensual fusion of the very finest of musical spice. This intriguing collaboration is inventive in its exploration of music as a unique part of a country’s culture and soul. Hypnotism to the ears, the resulting four song EP will enchant and fascinate, as the Dharohar Project paint their Asian opulence upon Marling and Mumford’s soft, soothing, and oh so English vocals. Building, layering crescendos, experimental lyricism and the seemingly effortless merging of instrumental styles (most noticeable during the highly textural climax of ‘Mehendi Rachi’) create that magically ethereal sense of having travelled without physically moving at all. It’s innovative, it’s exotically mysterious, and it works.


Laura Marling, Mumford & Sons and Dharohar Project performing 'Devil's Spoke' live in Delhi, December 2009.

'Mon The Biff!

When a band of beardy, tattooed men kick-start a gig having already removed their shirts, their intentions are clear. Throughout the next hour, Camden’s Roundhouse was to be transformed into a visceral sweaty cave of musical treasures and the true Biffy fans amongst the crowd were expecting nothing less. Storming the stage like primitive wild animals, the three Scotsmen proved the pure yet unapologetically filthy embodiment of masculinity. Simon Neil’s gravelly vocals lent authenticity to his deeply personal and at times hauntingly romantic lyrics, whilst fiery-haired feral James Johnston assumed mastery of the pounding bass.

Cinematic pop-rock singles ‘Mountains’ and ‘Bubbles’ from Mercury-prize nominated ‘Only Revolutions' arguably incited the fiercest adulation from the crowd, many of whom would have been less familiar with the band’s earlier work having won tickets to the show. However, with a substantial and more importantly, impressive, backlog of hits to choose from, anticipation was rife as to what guitar-ridden beast they would unleash next. ‘Who’s Got A Match’ and ‘A Whole Child Ago’, pieces in crucial fourth album ‘Puzzle’ that most definitely fit together, were particularly welcome surprises that helped fuel the already burning fire of their setlist. Despite the distinct metallic shine to their melodies, Biffy Clyro offered the fans a glimpse of both their versatility and softer side with gentler ballads such as ‘Machines’ and personal latest album favourite ‘Many Of Horror’ allowing for a break from the mosh.

Ending the night with ‘The Captain’, the raucous rock trio bid farewell to the full-force armada of fans they now well and truly had on board. Mon’ the Biff!

Biffy Clyro played Camden Roundhouse, 31/07/10.

The Films: Oh, Scorpio

I hasten to judge too quickly, but first-listen impressions scream that this is no Don’t Dance Rattlesnake. The retro-pop boys’ sophomore contribution lacks almost all of the intense sexual tension, frenzy and passion that crackled to such an electrifying degree on debut album tracks such as ‘Call It Off’ and ‘Strange Hands’. ‘Holiday’ on their latest record comes closest to reigniting the faintly glowing embers of excitement yet still falls short of the mark whilst ‘Pour It Out’ is a boring, monotonous track with only about three chord changes. The Films have yet to master slower songs as lead singer Michael Trent’s voice begins to severely grate after all of thirty seconds. That said, I raved about the crazed tales of jealousy and betrayal that they unleashed upon my seventeen year old self back in 2007 and, therefore, suspect that my harsh criticism stems primarily from disappointment. I confess to having hoped that The Films would succeed in refuelling some of the thrill I had felt upon listening to them as a teenager. I refuse to blame myself for this; I'm twenteen not twenty after all.

Ellie Goulding Live Chat

I asked Ellie what she would choose (if she had to had to had to) as her desert island disc. Her response was both speedy and firm. 'I would definitely take the Bon Iver record.' I suddenly like her so much more...?!

'And may you stay, forever young.....'

Imagine a typical 21st century festival scene. Now, minus the gangs of overly confident 15 year old boys and pretentious Kate Moss wannabes, minus the exploding gas canisters and tent fires, minus the money-raking branding and sponsorship and throw in a crowd of people who are genuinely there for the music. What you're left with is an image closely resembling Kent’s Hop Farm Festival, hanging above your head in a wonderfully fluffy white cloud.

Later referred to as ‘Her Majesty’ by current rumoured beau Marcus Mumford (do we really need another reason to envy her?), 20 year old Laura Marling enchanted the crowd with her haunting voice and deceptively fragile stage presence. A naturally beautiful figurehead for the modern folk movement, she may well have reminded older fans of a young Joan Baez. Marling’s emotionally complex yet poignantly simple songwriting disarmed her crowd with its honesty, with tracks such as 'Ghosts' and 'Blackberry Stone' leaving them in no doubt as to why she is currently music critics’ most treasured little darling.

Whilst queuing for a healthy dose of locally produced booze, the packed big-top tent caught my ears' attention as new kid on the block Alan Pownall was playing some of his Jack Johnson style guitar pop. The cheery 'Life Worth Living' and chilled out, summery 'Chasing Time' are hotly-tipped songs of success from first album ‘True Love Stories’ released earlier this week. Meanwhile Seasick Steve, the loveable bloke that everyone wants as their grandpa, was clearly revelling in performing to a main stage audience, playing original instruments innovatively created by himself.

Hailing Hop Farm as boasting the best line-up of the summer, Marcus Mumford and his band of bass and banjo yielding ‘sons’ drove the crowd to a palpably high level of folk-induced ecstasy with their rousing rhythms and harmonies. A noticeable difference from other more popular festivals was that the Hop Farm crowd were not ‘too cool’ to jig around like idiots with fellow fans of all ages, a difference which was both refreshing, and fun. The lovely London lads satisfied their audience’s ravenous musical appetite with all the hits from debut album ‘Sigh No More’, as well as unleashing some exciting new material. 'Lover of the Light' and 'Nothing Is Written', previously tried and tested at their Newcastle gig back in March, were well received as the crowd vocally stamped their seal of approval all over them with unanimously crazed applause.

Long time crowd-pleasing king of The Kinks, Ray Davies, played an energetic set of classics including the once controversial 'Lola', and the nostalgic 'Days', which Marcus Mumford was unknowingly caught on camera singing along to, a wistful look in his eyes. Davies stubbornly refused to leave the stage several times, proving a force to be reckoned with, an army of thousands well and truly on his side. A noticeable exclusion from his repertoire was 'Waterloo Sunset', which, as the sun was indeed setting, would have proved atmospherically apt. Nevertheless, the onetime frontman served as a prime example for the philosophy that it’s not the years in your life that count, but the life in your years.

Introduced as the ‘poet laureate’ of the music world, Bob Dylan was received to the stage as the legend he undeniably is. Idolised by young and old alike, he is often criticised for his lack of audience address, yet with a lyrical ability as genius as his, is small talk really necessary? Dylan has never been afraid to step back and let his music steal the limelight. A stand-out moment, as Dylan closed his two hour set with the poignant 'Forever Young', came when I looked to my right to see a middle-aged couple romantically swaying together, barefoot, deeply involved in the music, and clearly very much in love. Halfway through the song, the woman started crying. It struck me that Dylan had most probably formed the soundtrack to her youth and that this bittersweet song in particular was reminiscent of her past. She was looking up at the stage at a man whom, like herself, had inevitably grown older. In what will have been his only UK performance this year, it was a privilege to have breathed the same Kentish air as such an icon of folk music.

Luckily the party continued once the arena music had finished, with the festival’s Camp Acoustic stage showcasing a handful of aspiring young artists, several of whom demonstrated real potential as future main stage acts. Boyishly awkward Andy Robinson started his set somewhat hesitantly yet by the end had roped in a sizeable crowd with his bluesy Tom Waits influenced sound, whilst the charismatic Marcus Bonfanti stole the show with society-slating tracks such as the gritty 'Give Me Your Cash'.

By Sunday lunch-time I had left my Paddock Wood paradise behind, taking home sublime memories of a weekend of perfectly encapsulated hippy-style bliss, complete with a rather dishevelled flowery garland. Peace and love, I'll be seeing you next year.

Bob Dylan playing Hop Farm Festival, 03/07/10.