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theviewfromthebooth · 2 years

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The View from the Booth Top Tracks of 2021

Hey everyone. How’s your year been?

Shite, huh? Yeah, me too.

Well, at least we’ve got the music.

And boy did we need the music. After last year where we became untethered from time, space and release schedules, this list was as an anchor, keeping the whole ship upright, but also allowing me to mark off the months as Spotify tells me exactly when each song came into my life. The first song added to the 2021 playlist was January 5th, and the last one in was Bloc Party on December 12th. I’d say that was a pretty comprehensive account of the year’s music.

WEEEELLLLLLL…. As always I got inside my own head about the nature of this list, and the difference between songs released in 2021, and songs that I DISCOVERED in 2021. I think on some level I am still mentally judging my list against all of the others released around the same time, as If one day I’ll be recognised alongside actual national publications, with audiences of millions.

“Forget Mojo’s list, we wanna be on The Mighty Mojo’s List!”

About as likely as me playing left wing for Liverpool, or headlining Glastonbury. This list is about MY 2021. So, for example if I only discovered an album in February, that was released in March 2020, but heavily influenced my 2021, that album is eligible. Even if the album name is the date of release - 3.15.20. How the fuck does one of my favourite artists release a brand new album - that’s fucking brilliant - and I don’t hear about it for a year? Covid, that’s how. Gambino is in, and that’s the bottom line.

I’ve had to be more ruthless this year than normal. Firstly, I’ve had to change the name of the playlist a few times, thanks to Spotify removing the ‘Private/Public’ option. When you see this post it may still be called ‘Subterfuge’. I didn’t want to give anyone a sneaky peek, but still wanted to be able to post other playlists all year, and bring you all to my page.

There’s a few songs that started on the long list, and then migrated to the Bubble list, and eventually got bumped from that too. Sometimes those first two or three listens can be alright, but by the time you’ve heard it for a few months, it doesn’t quite have the staying power. Gut feelings after repeated listens is actually a much fairer way to judge something as subjective as music than writing a review.

Reviews are still worthwhile in some regards - if you trust the ears and opinions of the reviewer. But the truth is you don’t know how many times they listened before making their mind up. We can all think of songs or albums that didn’t grab us at first, but are now essential. Sometimes, the perception of the artist colours the music before you even hear it, which happens A LOT with reviews. Some writers want you to know more about them and their vocabulary than whether or not you should buy the album.

That was definitely me at some point in my career, but if you’re reviewing 20-30 albums a year, it’s very easy to find yourself saying the same things over and over again, sometimes without even realising. Which brings me to my other big musical journey of 2021 - The Twitter Albums List:

Is there any album that when you play it, you have to listen to from start to finish, in the correct order? My GF is a shuffle queen and I'm trying to get her to appreciate the art of the album....

It started off as an experiment to prove people should at least WANT to listen to an album as the artist intended rather than just cherry picking your favourites. Now this might seem a bit po-faced on my part (Who me? never!) , but it was inspired by my ex, who loved plenty of songs without any thought to what album they are on, and therefore if there are any other songs on there that she might like. When you love Nirvana but only ever hear “Come as you Are” or “Heart Shaped Box”, in the car for the best part of 6 months, you’d be desperate for a “Stay Away” or a “Very Ape”. So I asked the Twitterverse, and they delivered me 176 days of (mostly) gold.

However, by the time I got about two months deep, the original premise - albums that demanded to be heard front to back - took a backseat. The journey became me re-discovering a lot of albums I’d dismissed, mostly for those same reasons I mentioned before - perception, a bad review, or even just not being in the right headspace to hear it the first time round. Finding new music is always fun, but this list re-opened whole genres, and in particular, a decade. I’ve always been wary of 80s music as my memories of so much of it was either trashy pop, or moody, dark and ultimately a bit boring. People, I was very wrong. Peter Gabriel, XTC, Bauhaus are now listed alongside Talking Heads, The Cure, Kate Bush and Paul Simon as some of my favourite artists of that era. It’s amazing how often our own perceptions act as barriers, without even realising. When you’ve been doing something for a long time, keeping an open mind isn’t as easy as it sounds.

There was only one song that crossed over from that list to this one, but that’s mainly because only one of the 176 was released this year. Coral Island played a big part in my music life this year, but like Little Simz, there were so many songs I could have chosen, the vote was split, and so didn’t end up as high as I initially thought.

That said, the number 1 of 2021 has been locked in for a while. It was actually that first song back on January 5th, and it’s been the yardstick to which I’ve held everything else. I’ve loved a lot of songs in 2021, but no one has moved me like Shame.

I was already on the lookout for their new album after Alphabet dropped last year, but Snow Day is on a whole different level. Every song that has more than one section gets compared to either Bohemian Rhapsody, Paranoid Android, or both, and while it sounds nothing like either, what it does share is a carefully crafted tempo that builds then explodes to devastating impact.

The moment “Everything comes together at once” didn’t really make sense the first few times I heard it, but that didn’t stop me screaming those words as soon as I worked out what they were. The two-note riff that keeps popping up throughout and ultimately takes us home hits like a hammer, forcing me to take a deep breath at the end, just to fully take it all in. And then I’m ready for what’s next.

Bring on 2022.

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theviewfromthebooth · 3 years

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The Mighty Mojo’s Top 50 tracks of 2020

My rhythm is all fucked up. Bad enough that we’re in that time of year when no one knows what day it is, but now I’ve been forced into doing this a day early, due to the limitations of social media. Apparently if you want to create a thread of 50 artists, complete with links, you can’t schedule it the day before, it’s gotta be in the here and now. Oh, and in three parts. So here we are! I imagine there’s a bit of fatigue in reading articles that start with “2020 - what a year that was eh?”, or some variant. But there really isn’t any way of getting around it. I’d say the percentage of people on the planet whose lives have been unaffected by one disaster or another - natural, economic or political - is under 10%. It’s seeped into every crevice. For me and for most of you, music is the solace. The blanket under which we hide while the bad news hammers down around us. And once again it has delivered. Despite around 6 hours of music in 2 playlists, there’s still loads of great music I’ve not covered. Even as the career of musicians is being threatened, they’re out there on the front line, giving all that they have for as long as they still can. From my perspective, the stream wasn’t a constant flow. Around March I lost the ability to play music to people face to face. After over a decade of having at least one set a week, I had no idea what the withdrawal symptoms would look like. I mean, I could have guessed that I’d start a quiz. For a while it scratched the itch, especially the intros round. The problem with it though, was that by nature those things rely on the audience having some prior knowledge. There was no outlet for new songs.

Finding new music and passing it on really is at the heart of my love of DJing. Absorbing the reactions to those new songs from the crowd has always shaped the emotions I connect to the song. In much the same way as it does once I see an artist perform it live. It’s like going from 2D to 3D - a whole new dimension. I had no access to either of those methods, and consequently for a long time I didn’t seek out new music. The maddest part was I didn’t realise it was happening - as if without those live interactions the part of my brain that wants new music was dying.

There were exceptions of course. I’m sure there’s a fair few of the 50 that I tweeted about in excitement, but they were isolated incidents. When I looked at the “2020” playlist while changing phones in August, there were only 11 songs on it. I actually think seeing that shocked me back to life. One of those exceptions was RTJ 4 by Run the Jewels. You all know I’m a full on RTJ stan by now, but even my expectations were too low. The 4 year wait after RTJ 3 allowed my mind to race with possibilities. What if they waited too long? What if Mike had become too distracted, or EL couldn’t make murder mayhem melodic music now he was happy? I really should have known better.

It takes roughly 14 seconds to know that the album is a classic. Seriously. Go listen to the 1st 14 seconds of that album, and tell me you don’t already know. The imagery contained within the words and the music are far too complex for me to sum up, so I suggest you all hear it from them. Talking about JU$T on Song Exploder: https://songexploder.net/run-the-jewels

Or if you have time, they discuss the whole album with Rick Rubin: https://brokenrecordpodcast.com/episode-37-run-the-jewels

Both of those podcast series are well worth your time, and I want to also give a shout out to Sodajerker, another pod talking with musicians about how they create. There’s no point pretending there’s not an RTJ 4 song at number 1, but I think it’s fair to note that at least 5 that could’ve taken it. In the end I went with my heart. I do always baulk slightly at the idea of such strict rankings, but I in reality it’s only the top 20 that get such forensic treatment. With the rest it’s more like a true playlist, with more emphasis on how they flow together. I appreciate the commitment required to listen to a three hour playlist, so I want it to be as enjoyable as possible. Thanks as ever for taking the time to listen, and to read. Please buy as many of these records as you enjoy - they’ve all earned it.

NB: A couple of extra notes after finishing the Twitter thread….

Fiona Apple has no social media, so I couldn’t tag her. That’s absolutely fair enough if you can, so more power to her.

I’ve tried to use official artist stores as a rule, as I’m assuming that means they get a larger percentage of the money. If that’s not possible then I go with Bandcamp, and finally the bigger stream and/or download sites. These assumptions are based on conversations I’ve had with musicians involved with them, but if I am mistaken please let me know.

if you’re an artist reading this, and would prefer me to link to somewhere else, please add that to the thread.

Credit for the picture at the top is a guy called Lee Male. Look at more of his stuff here: https://3dtotal.com/leemale

Finally, I’m sorry if you’re not on Twitter. I will be posting this on Facebook & Instagram, but the links will have to come a bit later.

#2020 #music #lists #best of the year #best of 2020 #playlists #hiphop #rock

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theviewfromthebooth · 3 years

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The Bubble List 2020

Hey everyone. Congratulations for making it to the last month of 2020. To say it’s been a mad one doesn’t even begin to cover it, but the one constant I always had to rely on was my music. The way I listened to it has changed, and I’ll cover that when I post the top 50 of 2020.

“So wait….this isn’t it?”

Not yet. First it’s the Bubble List.

This is more than an overflow for the top 50. I know no one will listen to 100 songs, but the bubble list is primarily intended to shine some light on artists that are less well known, and really need all of the help they can get to keep going.

There are some artists on here who don’t exactly count as underground; a fella with a Mercury Music Prize, some with Grammy nominations, another with a top 10 album. Some artists here were in my top 50 last year. Despite these apparent riches, I’m not sure any of them would pass The Bus Test. The bus test means that an artist is so well known that i could stand up on the Bus, pull out my headphones and play their biggest hit from my phone. If most people would recognise them, they’re too big for the bubble list. Not a well known metric, but an accurate one if you ask me.

Also, let’s be real about this - a much larger slice of the music business than we realise needs help right now. As someone who absorbs music like I do, and engages with musicians on social media, it’s impossible not to see the damage caused by the double whammy of Brexit and Covid.

If you can’t play a show, and sell some merch, it’s almost impossible to make a wage. Of course there have been online alternatives, as artists extend their creativity to the hustle, but in truth no one can pretend that they’re anything like the real thing, and certainly not this long. The people of New Zealand are going to be spoilt for choice as the world’s musicians go searching for a crowd. Nadine Shah admitting that she had to move back in with her parents once her gigs had been cancelled should be shocking, but i’m not sure it is.

The other thing all of this does is focus attention on the unjust elements of the system that’s left - namely streaming. The government’s Digital, Culture, Media & Sport Committee have commissioned an enquiry to examine what economic impact music streaming is having on artists, record labels and the sustainability of the wider music industry. It’s a welcome sign that things can change, and I’d advise all of you to follow Tom Gray of Gomez (@MrTomGray) who has been involved in the excellent #BrokenRecord campaign.

He’s inspired me to finally address my own complicity in this system. For starters, For the last 12 months I’ve been paying for the full Spotify package! I use it more than ever, as it has begun to reach further into the musical recesses that I peek into. Now that I don’t have to add a random youtube or scratchy soundcloud link it makes my life easier, but still. It’s a shitty system, and they should pay the musicians a fair slice of their profits. I can guarantee that Spotify would get nothing from me without them, no matter how many times they enter me in that fucking prize draw for a Google speaker. This is all a long-winded way of saying that I’ve bought every record on the playlist, and I’ll be linking to their socials and any merch pages they have in a Twitter thread so you can too, should you so wish. The point of this whole enterprise is sharing the gems I’ve found with you all, and it’s worth the extra effort to go beyond merely telling you something is worth investing in, to metaphorically putting it in your hands. It’s interesting that the day I’m releasing this is the day Spotify have released their 2020 Unwrapped data, as everyone pours over the details of how much they’ve consumed which artist. They should put in exactly how much money we have given each artist in 2020 - that would sure hammer home the message. If there’s someone in your 2020 list and you haven’t bought any of their records, or don’t even follow them on socials? Please rectify that shit.

I will look at how Spotify has captured my habits, but mine will always be the definitive lists. So, you wanna know about the music on my lists, huh? It’s all great. I know , I know...I'm biased.

I have to say though, unquestionably, my ears have begun to be tuned to those of a middle-aged man. The amount of times that I’ve said “My Dad would like this”, is frankly appalling, but I’m letting go of the wheel. It is what it is. I always seem to be fighting against myself every year when I do this, so what’s one more battle.

That’s not to say this is a set of armchair music. It may have been a while since I’ve punched the air at a room full of drunk people swinging their limbs, but you all best believe that I’m squirreling away a stack of bangers to drop on you. Soon. Until then, enjoy. Top 50 of 2020 will be here on New Year’s eve.

TMM

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theviewfromthebooth · 4 years

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Unbearable

Hey everyone. I've not written anything in a while, or had much motivation to, but everything is all over the shop right now, and a couple of weeks ago, something just came out of me. Back in those quaint times when we all still hoped this wouldn't be as bad as it is now (roughly three weeks ago), I made a joke in The Anfield Wrap office about making a disaster movie involving the Coronavirus and Liverpool's title party - the two biggest things in all of our worlds at the time.

Well, I did it. It's a short story, but I've dreamt it as a movie, and hopefully the words will turn into images for you too. It was meant to be funny, but halfway through I realised that it isn't. It's also a bit too niche for most football or literary fiction sites (apparently), so I'm putting it up here. In the absence of any kind of appetite for the usual April Fools shenanigans, this is a good time to drop it.

It became a way for my mind to deal with everything – by laying out the worst case scenario, our situation becomes more bearable by comparison. Also worth noting that this was written before the government backed away (publicly at least) from herd immunity....

Dedicated to my two biggest creative inspirations – Matt Groening & John Gibbons.

-x-

UNBEARABLE:

A short story from the brain of a trying-not-to-panic Liverpool fan "For years Evertonians have been saying that the world will end if Liverpool ever win the league again......what if they were right?”

Ronnie has been planning his title party for years. In the pub, in bed, at work, on the toilet. While his beloved Liverpool drifted nearer, then further from their holy grail, he has never wavered from what he calls his life's work. Torture is what Jan calls it. He still doesn't know how close she came to leaving after the open top bus fiasco in 2014, but he knows he never wants to see that look in her eyes again. She'll come around once she sees it, and feels it.

That day in 1990, when he was the same age as little Dirk is now.....the street party. The last time he remembers his parents happy. All he wants is that same unlimited joy for Dirk... and to keep him in Red. Kev was a stubborn little so-and-so, but that won't happen again.

Back then he only had Roy Evans and his sporadically brilliant Spice Boys as ammo – now he's got Jurgen Klopp and his mentality monsters. Even Jan is changing her tune. Ronnie couldn't believe his luck when she agreed to let him dress Dirk up as the Premier League trophy, complete with silver paint & ribbons. They won't need a bus – Adam down the road will bring his flat-bed truck. What better memory for the lad than to be paraded through the streets of Anfield, held aloft by thousands of jubilant Kopites? Just 2 wins away. He can almost taste it. Nothing can stop them now....

“It has been confirmed....all football in Britain is suspended until at least April 30th, as a result of the coronavirus. BBC Sport understands FA chairman Greg Clarke expressed his fear at Friday's emergency meeting that the season may have to be abandoned....”

The blood drains from Ronnie's face as he stares through the TV screen. The phone buzzing in his pocket snaps him back to reality, as news reaches the Whatsapp group:

Within the walls of Whitehall, Clarke almost slips as he gets up from his chair. His head is so scrambled he offers Hancock his sweaty hand, before quickly whipping it away much to the amusement of Hancock and Johnson, and eventually Scudamore. Their laughter sends a chill through his bones. They think they've cracked it, but he KNOWS football fans. Closed doors aren't enough to keep away fans who've been waiting 30 years. And Liverpool have a LOT of fans.

As the chauffeur moves away, he takes out his phone to Google 'Herd immunity'.........

Ronnie's phone is red hot. Plans are moving at pace. Everton have been squashed and Operation Palace is full steam ahead. Dirk is bouncing off the walls in excitement and it's not even 10 am. Luckily a cuddle from cousin Danny always calms him down. Danny's dad is no such help. Kev has always been the bitterest of Blues, but claiming Dirk's life is at risk feels pretty low, even for him.

Ronnie plants a kiss just above the paint line, before pulling the woolly crown tight over the boy's ears, and hoisting him onto his shoulders. Dirk's laughter vibrates through his back as he shouts “You better get in that bunker of yours if you're that worried”, turning his snarl to a smile. Jan takes a picture of her glassy eyed husband with the Premier league trophy, which goes down a treat in the Whatsapp group, followed by the obligatory joke about 'going viral'.

Only this time it's no joke. By the time they get to Adam's garage the streets are packed. Half of Liverpool have descended onto the estate. And they've all come to lift the trophy.

Johnson's brow furrows ever deeper as his aide lays out the situation - hiding his eyes from the mess he's created. Liverpool Council can't control the crowds. Reports suggesting as many as 3 million people are on the streets. Budget cuts sanctioned by his hand have left emergency services at breaking point, even before the 600% increase in population. Suspending public transport has caused queues of 10 miles and counting in every direction. Vaccines are running out fast, with nowhere near enough immune patients to protect the vulnerable.

His hands tighten on each other, as if the answer can be wrung from them. With the pleading eyes of his aide boring through his thinning scalp, the spell is broken. A menacing silence hangs between them. He knows the whole country hangs on what he says next.

He knows he needs a miracle.

As the clock hits 90 minutes, so do Crystal Palace. Liverpool have roared back from an early setback to lead by 4 goals to 1. From the swaying throng in the garden of Hotel TIA, Ronnie can feel himself let go of 30 year's worth of tension. 30 years of balls hitting posts and staying out. 30 years of penalties not given. 30 years of “should've saved that”. 30 years of “should've been us”. All gone.

The final whistle is met with a guttural roar. A roar 3 million strong, a roar so full of electricity that it creates a mushroom cloud over Anfield skies. Dirk reaches for his father, who doesn't miss a beat with his mock trophy lift, complete with the Henderson stutter step. Silver tears stain his face as he watches his son surfing the sea of hands.

A moment like no other.

It's only the thought of sharing the moment with Jan that causes Ronnie to reach for his phone. 34 missed calls. 55 unread on Whatsapp. “The Reds are still massive!” he thinks to himself as he opens Jan's most recent message:

“It's too late. I'm sorry. Good luck. I love you both.”

“With their country now stabilised, this new Chinese study into the Coronavirus will become the template for the rest of the world to follow. There has been some surprise at the results. It appears children under 8 are the biggest carriers, while the fatal age threshold is only 40 years old, and could be even lower for those with a higher than normal blood alcohol level. The bad news for us here in Britain is the government's controversial 'Herd Immunity' strategy has been completely discredited”.

“FOR GOD'S SAKE TURN IT OFF!”

Anxious limbs fumble at the remote for what feels like hours, before finally, silence. Three pairs of eyes dart from George Alagaih's worried face to that of the Prime Minister. Hancock musters the courage to meet his glare.

“At the current rate of infection, Liverpool will be at 90% by 7pm this evening. Considering what we now know about their vaccine levels, and....alcohol consumption....”

“HOW ON EARTH HAVE YOU FUCKED THIS UP? YOU TOLD ME THE SCIENCE WAS WATERTIGHT!”

“It was as watertight as could be in such an unprecedented scenario. The goalposts kept moving...” “I DON'T CARE ABOUT YOUR FUCKING GOALPOSTS! ALL I NEED TO HEAR FROM YOU IS HOW WE STOP IT SPREADING!”

“W-we do have a plan”.

Hancock hands over the proposal, and takes three deliberate steps back. He allows himself to exhale once he sees Johnson's eyebrows rise, and then settle, from behind the folder.

“I've run the numbers, with Sunny & Wallace. It's tight, but we can afford it.”

The Chancellor nods slowly as Johnson looks in his direction. A nervous head appears through the crack in the door, like a tortoise unsure of Spring.

“We need a decision, sir.”

Ronnie pants hard, darting for space like Mo Salah in a forest of defenders. He can't bring himself to believe it. Not yet. Not like this. No time. Just keep running. Half a mile from home. She'll come around once she sees us.

Dirk lets out a yelp as they're brought to an abrupt halt by Breck road traffic. Ronnie looks deeper into the faces around him. What was once drunken ecstasy is now something very different. All he sees is agony, smudged with silver. Doors have been bolted, windows shut. Songs are now screams. Visible waves of panic ripple through the crowds, as infection and information sow their seeds in real time. It takes him a while to recognize the hard thudding against his spine isn't his own heartbeat – it's his son coughing. He whips Dirk off his back and holds him in front of his face.

“Don't cry mate, it's gonna be okay” he croaks, barely able to say it let alone believe it. Suddenly a cheer rises up ahead. Ronnie instinctively moves towards the sound. That sound he thought he would feast on forever. Before he can pinpoint it, a larger sound fills the space. Less a sound than a NOISE. A long, buzzing noise, that prickles the neck and causes everyone to look up.

Bright white foam boxes with big red crosses fall from the sky. More and more. Hundreds. Thousands. Cheers break out all over as boxes are ripped open, and the hugging of strangers resumes. Ronnie releases Dirk's hand as he catches the box thrown at him, and pulls off the top. He takes out the tablets and the bottle of water, and rubs his boy's back as he swallows them down. Overcome with relief he takes the trophy for one last spin, before placing him back on his shoulders. Home time.

“We shall not, we shall not be moved! We shall not we shall not be moved! Just like the team, that won, the football league...”

“WE SHALL NOT BE MOVED!”

Dirk waves to the little planes in the sky that saved the day. He continues waving at the much bigger planes looming, and the giant glass bowl they're carrying.

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theviewfromthebooth · 4 years

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The Mighty Mojo's top tracks of 2019

It's the most wonderful time, of the year......when I get a chance to share the music I love with all of you, in a little more detail than over 5 hours on a Friday night.

The usual hand wringing about my opinions and their relevance in the wider audience was conspicuous by it's absence this year. We're 10 years in - those of you who keep coming back to this list know what it is.

As usual I've waited until everyone else has shot their bolt, but this year I wasnt looking at NME, Pitchfork or BBC 6Music for comparisons.....I was looking at you.

As much as I've enjoyed seeing all of your end of year lists via Spotify, I always knew mine would bear little reflection to the list you're about to hear. Spotify is by no means my primary outlet for listening to music (for the reasons outlined in last year's post), and is waaay down in terms of discovering new stuff. I suspect a lot of you would say the same. And yet, it's still the most reliable outlet to have everything I want listed, so here we are.

As always, picking one track per artist caused me problems, but the good thing is that it made me really drill down into what I'm after in a great song: what moves me to the point where it becomes unskippable even after months of daily listens. And it's not always the same thing. You want an example? Well here's two.

I'd never heard of Squid before April, but a random trawl of the Getintothis singles club (game recognize game) found me stumbling upon Houseplants, all itchy energy, wailing breakdowns and a catchy refrain that hit a lot of my favourite references, like XTC and Talking Heads. And then they repeated the trick with The Cleaner, which came at a slower pace but with a bit more funk, and a chorus line that had people singing along in Motel halfway through its 1st play.

I flip-flopped over which should make it in quite a bit, and it came down to which one do I give greater value - the reaction of the Motel crowd when I played The Cleaner, or my visceral excitement of hearing them tear through Houseplants live in Heebies basement? Both are important tie-breakers, so the answer will not always be the same.

My other big issue this year was with Foals. It seems churlish to call it an issue when one of your favourite bands releases two albums in one year, but that's the nature of this beast.

Personally I blame Emily Eavis. If this doesn't get them a headline slot on the Pyramid by 2021 they may get desperate, and NO ONE wants to see Yannis with multi-coloured tape on his fingers, and vague platitudes about complex global problems scrawled on the back of his hand. And all of us who saw their recent tour documentary knows he has it in him.

But I digress.

On any good album your favourite song can change many times, but with Foals this was complicated by life, and the connections we build through music. In Degrees will always make me think of a certain person (hiya x), Exits of a certain time and place, and Black Bull of one particular lad trying to breakdance, but in the end I went for the song that got the most out of me.

I've finally found a way to get fit without hating myself or giving up, and my workout playlist has played a massive part. Not just in giving me energy, but in the case of The Runner, a mantra:

"If I fall down, then I, I keep on running".

Sounds simple doesn't it? And yet it has given me so much power, to keep going where I would have previously quit. Plus it has a boss little widdly solo at the end.

In the context of those decisions, the number one was an easy choice. Lizzo has won the world over this year, and I couldn't be happier. I can't say I was at her " Sex Pistols at the Lesser Free Trade Hall" show in the Shipping Forecast back in 2014, but she's appeared on this list a few times, including last year.

Her attitude is talked about more than the music, because she's an absolute force of fucking nature, but Juice is a legit banger, worthy of a place in the cannon of any hip hop, R&B or soul singer of the last 50 years. Nile Rodgers probably thinks he wrote it.

Prince was lined up to produce her album before he died, but I'm not sure even he could have improved on Juice.

This record slayed Motel week after week, shook my soul when she performed it live at Glastonbury, and is entwined in every great memory I have from 2019.

The whole damn meal.

ANNUAL REMINDER TO INVERT OR JUST IGNORE THE NUMBERS.

Spotify still doesn't grasp the nature of a countdown playlist in which the best is saved for last.

Maybe next year....

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theviewfromthebooth · 5 years

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The View from the Booth: Tracks of 2018

Right. Here we fucking go. I realise it's been a bit drawn out this year, but for me it has been interesting. In some areas it's felt more like a tester of Social media algorithms, but I have been able to see how the top 10 have hit your ears. I'm pleased to say they've all got some love – hopefully you're beginning to believe me about all of those great tracks out this year. Normally I put the playlist at the bottom, but that’s no good if you wanna listen as you read. Plus I’ve made you all wait long enough, dammit.

It pleases me that however hard it is to make a living from making music in 2018, there's still plenty of people giving it a go. However, when a band like Spring King – with strong support from label, fans and press – can't make it work, it makes me wonder if that well of beautiful dreamers will ever run out.

I know that Spotify isn't exactly the heart of the revolution on this subject either. The amount that artists are paid per stream is still pitifully low, and it doesn't seem to be doing them much good. 87 million paid subscribers sounds great, until you realise last quarter there was an operating loss of 90 million Euros.

Had they gone the Netflix method, as suggested by a friend of mine who's operated at all levels of success within the industry, and actually invested in music – the artists and it's production - rather than just taking money for distribution, it could have been a real force for good. For now, it's just the easiest delivery method. So while I'll keep using it, I'll also keep buying tracks, albums, gig tickets & even merch if they have anything left that goes over my gut. I suggest you all do too.

In typical fashion, there was a real battle in my head for the top spot. Yeah, yeah you say that every year knobhead. But that's what happens when you love what you listen to. I have great memories tied to every song on this list, as I've navigated what has actually been a great year for me. But in the end, when I look back in 5, 10 years time, I fully believe that 2018 will be known for the emergence of Brockhampton.

I'll be honest.......the concept of Brockhampton sounds horrific on paper. A band drawing comparisons to One Direction & Wu Tang Clan in equal measure, a mish mash of up to 15 different voices and almost as many styles. But these guys know what they're doing. Rather than fear being labelled a manufactured boy band, they're redefining exactly what that means. To them, it's a group of boys, who want to be the biggest stars on the planet, making the music they want to make.

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Boogie has a beat like a fire alarm that hits you like a heart attack, and keeps you off guard as each new voice tries to elbow its way into your psyche. There's an urgency about the whole thing, as if this has been building up inside them all, busting to get out.

Kevin Abstract's main refrain:

“I've been beat up my whole life

I've been shot down, kicked down twice

Ain't no stopping me tonight

Imma get all the things I like”

feels very now, both in the frustration and the desire to finally win, for once. Well congrats lads – you've won 2018. No, there's no trophy.

Annual reminder to ignore the numbers on the side of the playlist - Ash is no.50, not number 1. The list is a countdown not a count up, despite what Spotify are trying to tell you........

#Bestof2018 Lists Music

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theviewfromthebooth · 5 years

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2018: The Bubble list

I'm taking a bit of a risk with the tracks of 2018 list this year. I was finished before the start of December. Every other facet of my life suffers when I leave things to the last minute, but seeing as my ears are always open to new songs it makes sense to go as deep into the year as possible. Efficiency can be a curse you know.

Especially in a year like this one, where I've been hearing great new tunes at a rate of about 3 a week. I know you're reading this thinking:

"No way has there been 156 truly great songs released in 2018",

but trust me - they're out there. The fact is that I've made 2 lists of nearly 50 each, and still I'm making tough decisions. So, my on the bubble list. Here by popular demand, based on votes on Twitter and Facebook. Those of you who voted against are free to ignore this and wait for the top 50, but...........

There has been a rough guideline to how I've chosen these songs beyond

"Do I like it? "

As much as possible, I want it to feature tracks from 3 distinct groups of artists:

1) New artists, independent or otherwise

2) Not necessarily new, but not widely known artists

3) Dang, are they still making records?

Anyone who doesn't come into those categories is basically just unlucky not to make the top 50, but they've spent enough time in my head to earn inclusion. I don't think Jack White or The Chemical Brothers really need the promo, but there you go.

The other big difference with the bubble list is that it's not numbered. The hope is it feels more like a mixtape, filled with new discoveries passed on from a sibling, a mate or a girlfriend/boyfriend. Just, a really long one!

Having a smoother flow means you can tackle it in chunks if you want. In fact.......It's' just occurred to me that it's a truer reflection of what it's like to hear me DJ. My aim at the start of every night is to literally lead you on a merry dance across the musical spectrum, as smoothly as possible.

There will always be diversions as I react off of the people in front of me, and each night ultimately follows it's own path. If I could find a way to get a snippet of:

"Hey man, have you got any Digitalism/Dilated Peoples/Dinosaur jr?"

"OOOOHH......er......Yeah fuck it, let's do it "

on Spotify I'd add that in, but otherwise this is as close as it gets to The Mighty Mojo experience. Maybe pour yourself a rum and apple juice to go along with it. If you really wanna be authentic, try to make it to the toilet and back in the space of one song.

However you decide to do it, I hope you enjoy it. Remember this is just the starter; The big guns will be appearing a little later in the month. I want to give the songs here the space they deserve, to worm their way through your ears and into your heads, and hopefully hearts.

#Tracksof2018 Music 2018 TheViewFromTheBooth Mixtape Spotify Lists

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theviewfromthebooth · 6 years

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The View from the Booth Songs of 2017

Good afternoon, good morning or good evening, from wherever and whenever you're visiting my little corner of the internet. Writing words may not be the centre of my world any more but music is still pretty close, and therefore, here we are with my top 50 songs of 2017. You may have noticed in recent years that I've not covered albums. This is not because I've stopped listening to them, or “The album is dead”, or such nonsense (it's not dead – there were hundreds of albums released this year, and many were good). It's more that I no longer wish to force myself to listen to enough to justify a top 20, let alone a top 50. My November/December cram sessions have been a regular staple for a good few years now, but I don't feel like I've been giving each album enough time. I like a record to roll around inside my head, like a Werthers' Original on my tongue. On top of that, the idea of articulating exactly why I love each one with insight and humour now feels like a chore, and even worse a retread of what has gone before. When I go to my cupboard of similes and adjectives for a touch of descriptive spice, all I see is the same old same old. Music should never be a chore. Those of you who follow me on Twitter ( @Bear_necessity – you won't regret it) may have seen me tweet a thread of some of my favourite albums of this year released on independent labels:

re: That last RT, here are some independant musicians who made albums I've enjoyed this year, in the order I think of them. First up: @LittleSimz https://t.co/GeRQL6feYm

— The Mighty Mojo (@Bear_Necessity) December 19, 2017

That pretty much covers it, although I would add major label albums by Mr Jukes, Beck, Soulwax & Joey Badass to the list. So yeah, just the songs now. It's not as if that wasn't a tough enough job on it's own. My Twitter followers will also be aware that I spent the early Christmas holidays shaving this list down from over 80. I'm pleased to report I loved a lot of new music in 2017; my DJ licence has been renewed for another year.

It's interesting to see how the list shapes up as a whole in comparison to past years. There's a lot less grime than last year for example, and less that you could buy on Beatport. There's also a few that surprised me, including at least 3 artists that I've previously slated. Two of them I probably still will – the sun even shines on a Dog's ass sometimes – but it would be a lie to omit them. I dare say you can guess who I'm talking about. Even withstanding the usual late amendments, I could have released this a week ago. The reason I didn't goes back, like so much else, to my teenage years of musical awakening.

New Years' Eve '95 was spent watching MTV's top 100 videos of the year. Whatever else I was doing, or being made to do, was to the backdrop of that years' highlights. It also felt like the perfect time to reflect, and to get myself excited about what could possibly be to come over the next 12 months. I thought I'd give you a chance to share my experience, even if you aren't drinking egg nog and playing American Monopoly. The other reason for the delay is that I've been waiting for Spotify to recognise the genius that is Ty Segall. The Main Pretender may have only come out at the end of November but it absolutely has to be included, even if not doing so would make it easier on myself. When have I ever done that? You can see The Main Pretender is officially in at number 10, but it's a file local to my computer so when listening to the playlist, here's a handy guide:

Step 1) Press play on playlist

Step 2) After listening to Beck, press pause

Step 3) Press play on the video below

Step 4) Take a breath; change your underwear if necessary

Step 5) Press play on playlist, and prepare for The Orielles

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All that remains is to tell you about the number 1. In truth all of the top 3 were at number at some point (The picture with the Spotify playlist is an obscure clue as to who nearly won), but with the tragic passing of the Screaming Eagle of Soul, Mr. Charles Bradley, I had to give the nod to his last great contribution to music. It took me a while to work out that Mr.Jukes was actually the lead singer from Bombay Bicycle Club, but once you know you can hear the hints of his past lurking in the breakdown of Grant Green. The man who gives the track it's name, and also lends a juicy sample*, is a deliciously talented Jazz guitarist that I've come to late on, just like I did with Bradley. Hopefully I'll discover just as much treasure. BBC never had a vocalist like Bradley to work with, and to his credit Jack Steadman has done him justice with a beautiful sunshine soul standard.

See you all in 12 months.........

*He's also the cool cat at the top of the page

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theviewfromthebooth · 7 years

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Bido’s own #themightymojo brings the noise to #shangrila bar #Glastonbury #gigsketching #mookloxley #bidolive #mojo #smokingcausesheartattacks

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theviewfromthebooth · 7 years

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The View from the Booth Tracks of 2016

First of all, an apology. I realise this is the 2nd playlist north of three hours that I've given you in a week, at a time of year where time isn't really our own. I actually checked to see how many songs in common the two lists have.......and its 5. Out of a total of 115 songs. I understand if you take a while to catch up with everything, although I assure you it'll be worth your while.

I've had a lot of fun compiling this list, even if I do frustrate myself with the self-imposed parameters. Every year I think I'm going to bend on the 1-song-per-artist rule:

“I mean in previous years I've resisted but those songs weren't as good.

Surely I can't ignore.......Am I Wrong, or This is England, or Burn the Witch?”

......at which point I actually look back at previous year's and some of those dilemmas........and resolve to remain vigilant. I could have extended the list back to 100 or even 75, but to be honest there's plenty of artists who haven't even got one record here who'd probably take all the other spots. Some good friends who've made good records will be disappointed reading this list, but hopefully when they hear the playlist, it'll soften the blow – if they were even arsed in the first place of course.

There's a good mix of styles and tempos, but this more than other years I feel like it flows quite well, which is a happy accident. There's a few nice runs, partcularly Skepta to Swet Shop Boys, and Haarm to Jamie T. Spotify won this year's “Which music platform has the most of the songs I've picked” award, with a record-breaking 49. Beyonce was the only anomaly, and to make up for those of you who don't have Lemonade, I've included both parts of Chance the Rapper's Blessings, so everyone gets at least 50.

At the other end of the list, my favourite song of the year only had three real contenders, which proves how much of an impact those three songs had on me. Get my Bang is a beguiling slice of sexual frustration breaking loose, Childish Gambino proves Leather pants and a porn star 'tache don't always mean a mid-life crisis on the towering Me and Your Mama, .....and the number one? One of the men of the year, Anderson Paak marries the year's best bassline to a snapping backbeat and a party lyric that adds up to dancefloor dynamite. If Bruno Mars made this record we'd all be hearing it in our sleep, but once you hear Come Down you'll probably be doing that anyway. You've got a fun 3 and a half hours ahead of you.

1. Anderson Paak ft. T.I. Come down

2. Childish Gambino Me and your Mama

3. Wild Beasts Get my bang

4. Danny Brown ft. Earl Sweatshirt

Kendrick Lamar & Ab-Soul Really Doe

5. Spring King Rectifier

6. Radiohead Ful Stop

7. Zack de la Rocha Digging for Windows

8. A Tribe Called Quest We.....the People

9. Gengahr Embers

10.Metronomy ft. Robyn Hang me out to Dry

11.DJ Shadow ft. Run the Jewels Nobody Speak

12. Kano New Banger

13. HoneyBlood Sea Hearts

14. Colony House You Know it

15. Elf Kid Golden Boy

16. Hamilton Leithauser & Rostam Peaceful Morning

17. Ocean Wisdom ft. Four Owls Real Smooth

18. De La Soul ft. Snoop Dogg Pain

19. Jamie T Dragon Bones

20. Glass Animals Life itself

21. Mura Masa ft. A$AP Rocky Lovesick Fuck (remix)

22. Kid Cudi ft. Pharrell Surfin'

23. Haarm Foxglove

24. Rat Boy Move

25. Kendrick Lamar Untitled #3

26. Phantogram Same old Blues

27. The Allergies ft. Andy Cooper Rock Rock

28. Aesop Rock Rings

29. Charles Bradley Changes

30. Solange Cranes in the Sky

31. Beck Wow

32. Trudy & the Romance Wild

33. Kate Tempest Tunnel Vision

34. White Denim Ha ha ha ha (Yeah)

35. Hackney Colliery Band Heart Shaped Box

36. Martin Solveig Intoxicated

37. The Lemon Twigs Those Days is coming soon

38. D.D Dumbo Satan

39. The Bulletproof Bomb Millenial Moaning/Generation Me

40. Swet Shop Boys No Fly List

41. Kaytranada Breakdance Lesson No.1

42. A Tribe Called R.E.D. R.E.D.

43. The Avalanches The Noisy Eater

44. Skepta Man

45. Beyond the Wizard's Sleeve Iron Age

46. Baltic Fleet Angel's Shotgun

47. Schoolboy Q John Muir

48. Clean Cut Kid We used to be in love

49. Beyonce ft. Jack White Don't hurt yourself

50. Chance the Rapper Blessings (pts. 1 & 2)

51. Mac Miller ft. Anderson Paak Dang

*UPDATE* I don’t know how after listening through to this playlist 3 times in 3 days, but I missed off a very important song, that just has to be there. Sorry if that ruins the uniformity of the 50, but right now I don’t give a shit. This song has to be in. Those of you who have heard me play (especially those working the bar at the time) will know how much I rinsed this tune, and I’m still not sure how I missed it in the first place.

Error rectified.

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theviewfromthebooth · 7 years

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THE VIEW FROM THE BOOTH ALBUMS OF 2015 PART 2

So, as most of you now know, this is the 2nd official attempt at writing this piece. I can only apologise for the time it’s taken to rectify the situation, but I did hang on to the idea of my old hard drive being saved for a lot longer than I should have. Deep down I knew. Anyway, that’s why you’re hearing about the best of last year in March. Blame Adam Lallana. Blame Sky Go for it’s intermittent service. Or BT for their “superfast but not actually noticeably different” broadband. Or, you know, me.

So, what this means is that there’ll be less words. You’ll still get to know why I love them, but only the top 3 will have the detail of old. It’s actually quite hard to write the same thing twice. But the waiting is really truly over – the hinting facebook messages can cease. These are my favourite albums of 2015.

20. Eagles of Death Metal Zipper Down

Always a reliably unreconstructed riot, the success of Eagles of Death Metal prove that maybe Electric 6 packed it in a bit too early. It’s amazing that we can even understand Jesse Hughes’ vocals so far is his tongue pressed into his cheek. Tightly wound, sleazy hooks pepper each track about girls, drinking and dancing. The only surprise they spring is their love of Duran Duran, as Save a Prayer is a faithful cover; turning up the fuzz but keeping the original melody front and centre. 19. Bop English Constant Bop

Originally billed as James “White Denim” Petralli keeping his creative engine ticking over, while half the band went on a jolly supporting up and coming trobadour Leon Bridges, Constant Bop has become the blueprint for 2016’ White Denim 3.0. The departures of Austin Jenkins & Josh Block appear permanent, and their replacements make a great first impression. Bop English widens Petralli’s 70’s rock palette beyond Americana with some funky horns & keys, even if they’re still more E street Band than Parliament.

18. Radkey Dark Black Makeup

A literal band of brothers, Radkey have been on the radar for a couple of years, since they blew my balls off on Jools Holland, and despite the long wait their debut album doesn’t disappoint. 2 years on the road has added a bit of craft to their raw hardcore energy. Dee Radke’s voice has certainly developed from a shout to drawl, which suits the glammier edges on songs such as the title track and the radio friendly Hunger Pain. 17. Courtney Barnett Sometimes I sit and think, sometimes I just sit

I must admit I missed the first bus when it comes to Courtney. Her set at Sound City 2 years ago was the stuff of legend, but not enough to persuade me to actually give her a listen. God knows why. Singing like she doesn’t give a fuck and playing guitar like Graham Coxon, Barnett is so far up my street I can see her from my bedroom. Her stories read like rants on modern life, but her sarcastic Aussie twang quickly punctures any pretension.

16. The Chemical Brothers Born in the Echoes

The Chemical Brothers have been making albums for 20 years. I can’t think of any other dance act that have been consistently at the top of the game for so long. Some of their albums may have received less fanfare than others, but go back and listen; there’s some bangers on every one. Born in the Echoes is no different. Fanfare or no, one thing everyone of those albums has is a hit single. Go is obviously the headline act – Q-tip reprising his Galvanise role riding one of the year’s best (and most basic) basslines – but there’s plenty to enjoy. St.Vincent traverses the beauty and brutality of Under Neon Lights beautifully, and Just Bang doesn’t let it’s title down.

15. Ratatat Magnifique

If I’d ever managed to maintain a band beyond a few drunken jams, I’d have wanted to sound like Ratatat. The first time I heard them they sounded like the perfect answer to a debate I’d had with my old housemate in 2001 about the merits of combining rock, electronica and hip hop into something truly it’s own, without the need for vocals. These fuckers have nailed it. Effects heavy, doubled tracked guitars give them that distinctive digitised sound, but their appreciation of the power of the bended note is the real beauty at play. Hear how it leads the narrative in the dream like title track, but also takes the standout centrepiece Nightclub Amnesia to the next level. Some have derided Ratatat as computer game music, and it’s hard not to think of that on songs such as Abrasive. But who says that’s a bad thing?

14. Peace Happy People

The second artist on this list to have recorded a better Blur album than Blur, Peace have become massive in Liverpool over the last 18 months, off the back of a string of triumphant sold out shows. Happy People captures the bristling sexual energy of those gigs on Lost on Me and I’m a Girl, while recalling a few more 90’s favourites on the Mansun-esque Money and the Loaded-esque outro of World Pleasure.

13. Roisin Murphy Hairless Toys

I fall in love with Roisin Murphy every time she releases an album. Whether she’s the ballsy disco diva or the broken songbird; purring or pleading; that voice hits me between the eyes and between the legs. Hairless Toys sees the music have an equally hypnotic influence – Evil Eyes with it’s elastic band bass, the queasy, detuned synths of Exploitation and the faded glamour of Unputdownable’s piano line. You might fear for her state of mind by the album’s end (especially if you’ve seen the accompanying videos), but this is a woman in full control. The Hairless Toys sessions produced 35 tracks in 5 weeks. That only 8 of them are on this album leaves me excited for the future.

12. Prhyme Prhyme

“This is for the real hip-hop niggas who would never ever, ever ask me am I here to replace Guru.”

Any MC working with DJ Premier after the sad demise of Gangstarr is going to face Guru comparisons, but that pretty unequivocal statement by Royce Da 5'9 on U Looz is an appropriate jumping off point for this project. Prhyme is the sound of two of hip hop’s most respected merging their talents into a thrilling new whole. In truth there are three heads involved, with all of Preemo’s samples coming from the back catalogue of composer Adrian Younge. The results add a cinematic quality to You Should Know, while the staccato organ of Courtesy sounds like Wu at it’s finest. Royce has a great rhythm and purpose to his flows, but he isn’t left to carry the mic alone – Common trades bars and tempos with him on Wishin’, while Killer Mike & Schoolboy Q perfectly suit the murky menace of Underground Kings.

11. Bill Ryder Jones West Kirby County Primary

To remember The Coral at their cartoonish peak, it seems incomprehensible that one of their number has ever felt the kind of pain that Bill lays bare here. The mood may be low - West Kirby County Primary is a charming collection of soft focus acoustic laments and indie ballads - but there’s no wallowing. Self-admonishment and self pity are very different animals, and the matter of fact honesty with which he addresses his problems is endearing. Two to Birkenhead’s refrain, “They say desperate times call for desperate pleasures”, captures the dark humour that allows Bill to tackle serious subjects without taking himself too seriously.

10. Mini Mansions The Great Pretenders

The 2nd member of Queens of the Stone age on a busman’s holiday, Bassist Michael Schulman finds himself above his boss courtesy of a spunky set of 60’s pop with an electronic underbelly. Opener Freakout has an insanely catchy chorus draped with girl group harmonies, before the icy cool blast of Death is a Girl speeds by on a bed of itchy guitars. Alex Turner’s film noir turn on Vertigo is perfectly pitched, although unfortunately it gave him the idea to do another Last Shadow Puppets album.

9. Zun Zun Egui Shackle’s Gift

The first album I got excited about in 2015, that excitement turned to despair when the band announced their split in June. Regardless, Shackle’s Gift is a damn good epitaph. Singer Kushal Gaya brings the same manic energy he does to Melt Yourself Down, only now he’s strapped on a guitar and started singing in English. Hiring Fuck Button’s Andrew Hung to produce was a masterstroke, someone well used to making sense out of chaos. African Tree’s combination of tribal and military drumming frame the schizophrenia within, and Soul Scratch feels like Post Punk from Soweto, rather than Mauritius, Japan & Bristol.

8. Young Fathers White men are Black men too

Most of us were still digesting the sensory buffet of Dead when Young Fathers announced they had a brand new album ready to go. As I write this 10 months later, they’ve just released a collaboration with Massive Attack. They’re clearly evolving at an alarming rate, still pleasingly unable to be tethered to any particular genre. This is an album of emotions – those triggered by the trio of vocalists, and those elicited from the twisted drones and muffled snares. Anger, unease, joy, sadness…..it’s all there. That blinking keyboard riff that opens Rain or Shine twists my stomach in knots. By the time Graham Hastings starts whispering

“No Jesus in my life……no demons in my life…….”,

I’m close to tears. I’ve not listened to their new song yet……I’m not done with these ones.

7. Joey Badass B4DA$$

After putting out four mixtapes of patchy promise while still a teenager, Joey Badass has come of age on his offical debut. There’s some great tracks on those tapes, but the sparse yet repetitive production meant they tended to meander. B4DA$$ is a true conpendium of sounds. No.99 rumbles like a drive by, yet O.C.B. twinkles like a cabaret standard. Escape 120 is almost Drum'n'Bass, while Teach Me could have been written by the Cinematic Orchestra. Joey doesn’t sound out of place in any of these worlds, a testament to his skills as an MC. At times the scrawny kid barking his defiance at authority, at others sharing stories on the stoop over his last blunt.

6. Django Django Born under Saturn

On the face of it, naming your second album after a book of critical art theory could be seen as a portent to pretension, but this record is jam-packed full of fun. Opener Giant quickly sets the record straight – a layer of hissing tambourine setting the perfect dancefloor template. Another band who know the benefits of a good vocal harmony, Shake & Tremble welds a 60s biker movie soundtrack to a soaring chorus. The only concession to the difficult 2nd album syndrome is First Light, which paints a lyrical picture of a band fighting the temptations thrown up by that first taste of fame:

“Complacency’s known our name forever but

we never knew its game till later.

The higher we are the further we will fall…”

Musically, the chugging synths threaten to disorientate, until that simple yet irresistible drum beat snaps us back to reality. I can’t work out if they’re in heaven or in space, but wherever they are, they’re enjoying it.

5. Unknown Mortal Orchestra Multi-Love

Kiwi Ruben Nielson has made a better job of drawing from both psych and soul than his Antipodean neighbour Kevin Parker. Maybe the Portland influence has lent him a little subtlety, as most of these nine tracks evolve rather than explode, and it generally makes for a more satisfying mix. It’s a lot more sexy as well; Can’t Keep Checking My Phone wears it’s disco bass like a medallion bouncing on a chesty wig, while Ur Life One Night is faithful homage to 80s Prince (right down to the wonky spelling).

Multi-Love is a mesmerising listen, especially in headphones, emitting subtle yet perfectly placed squeaks and bubbles from everywhere. Stunning closer Puzzles starts as a lo-fi acoustic ballad, before a growling guitar line breaks out of the calm (the only exception to the evolution rule above) to devastating effect, only to retreat back into it’s chrysalis as if nothing had happened.

4. Alabama Shakes Sound & Colour

Despite what I’ve just said above, if we’re talking about combining rock and soul in 2015 there can be only one winner. Brittany Howard is my favourite singer currently making music. Anywhere. The tension built up in that squeal at the opening of Don’t Wanna Fight is a heartstopper, and the entirety of Future People is the best vocal of this or many a long year. That is not to diminish the efforts of the rest of the band; that song is also a tour de force of guitars from both Brittany and Heath Fogg. Those lightning shard riffs that punctuate throughout; the subtle picking tiptoeing beneath the vocals; that pre-chorus bend; those windmilling post-chorus hammer ons – just magical. To be honest every song here leaves me open-mouthed. When that organ chord slams in the chorus of Give me all your love I feel like dropping to my knees. Often problematic on the bus. The Greatest has that freewheeling spirit that comes when a band are totally on the same page and can really let rip and have fun.

Sound & Colour allows us to imagine what would have happened if Mick Jagger and the Stones had succeeded in stealing Tina away from Ike - pure blues power dripping with emotion.

3. Oddisee The Good Fight

Oddisee is a clever dude. He’s released a Jazz-influenced hip hop album that eschews party raps for subjects with substance, and features a long interview with himself at the end, and yet very few people compared him to Kendrick Lamar. No one accused him of copying Kendrick either. Oddisee is the world-wise teacher to Kendrick’s street poet, with a calm, authoritative flow and a keen ear for a great hook. The pure joy emanating from the organ riff that opens the album and big single That’s Love is so infectious it was soundtracking BBC montages before it even had a UK release date. An American Muslim, who grew up in the nation’s capital, Washington DC, he was never going to be someone who ignores the political. Something Done lays bare the issues of not only Black Americans, but socially conscious rappers:

“I’m a new angel, and they’re only want the old demons Glorifying music, that’s abusive and a threat to us And if you got a message in your records You collecting dust upon the shelf ”

However, most of his inspiration is drawn from travel. This is a guy who doesn’t tour the world, he circumnavigates the globe – going beyond the velvet rope of hotels and airports to mix with the indigenous people, to pinpoint the essence of what makes those places so special. This doesn’t mean shoe-horning in some tablas - it’s more subtle touches, such as the droning refrain from the peerless Belong to the World. The Good Fight takes us through the gambit of emotions both lyrically and musically, though not always in harmony with each other. Contradiction’s Maze and it’s breezy brass has a warmth that you’d expect from a summer single from Timberlake, but the words tell the story of a man who is struggling to square the pulls of success and integrity from opposite directions.

Oddisee is another producer/rapper, which means he’s extremely hot on arrangements, and how the words and music are supposed to intertwine. A great example of this is on Counter-Clockwise, as he rhymes over a cascading 5/4 beat that always feels like it’s tripping over itself. Oddisee’s flow mimics it’s stop start nature to accentuate the feeling of chaos, all the while making a powerful point about the counterproductive nature of some relationships that end up draining those involved. Y'see? That’s clever.

2. Foals What went Down

Foals are a band that have always piqued my interest. They arrived at the end of the Punk-funk era and the beginning of what became known to some as Math Rock, but were always able to transcend those horrific labels (Nice one for that NME) to make restless, interesting music. Their problem was they could never maintain that interest over 10 tracks. Too many songs ended up following a similar formula; even Unicorn steak would be boring 10 days in a row.

Like St.Vincent and Danny Brown before them, I knew if they could nail an album it would feature very highly here, and like those two Foals have taken this year’s silver medal. So what changed? Well actually, it wasn’t them - it was me.

According to guitarist Jimmy Smith – the Mick Jones to Yannis Phillipakis’ Joe Strummer – all the band did was “make the heavy bits heavier, and the dreamy bits dreamier”, which doesn’t sound like a revolution, but essentially what it meant was they distilled the essence of what people love about this band. The invitations to throw your body around provided by Snake Oil and the title track are impossible to ignore, as is the heart-wrenching introspection of Give it all and London Thunder. The reason What Went Down captured my affections in a way that Total Life Forever and Holy Fire didn’t is because I realised the similarities across the tracks were not a formula but a theme, designed to reflect the intensity of the feelings being expressed. However despite Smith’s humble protestations, there were a couple of fundamental changes that I believe made a difference. For starters Smith began writing songs on piano as opposed to guitar, changing the angle of attack from energies to emotions. Thankfully this doesn’t lead to a lack of power – songs like Albatross are still propelled by rattling drums, but the melodic landscape is stretched to incorporate Phillipakis’ tale of how depression can turn to panic:

“You drank, you share but you still could not be sated You said you’re scared of the clocks that keep ticking over”

This brings me nicely onto the 2nd change – Phillipakis is talking about himself more openly. Intelligent lyricists usually delight in layering their psychoses with endless opaque references, but most of the time here you know what he’s trying to tell us.

“Dark clouds gather ‘round Will I run or stand my ground?”,

from Mountain at my gates doesn’t exactly sound like a man in love with life, but the refrain of:

“Yeah, when I feel low You show me a signpost for where I should go”,

suggests someone who is finally battling their demons, and feels all the better for it.

The twin emotions of this record mimic the differing personalities of the two main songwriters: the quiet, considered dissection of ideas of Smith; the unbridled fervour of Phliipakis, and the insecurity lurking within his lyrics. But the greatest trick it pulls off is the one that never fails to reel me in – bookending an album with its best songs. Everything about the opening of What Went Down is played to maximum dramatic effect, from the eerie organ, to the statement opening line and that gut-busting three note riff. From there there’s no let up, leading to a final build of tension unrivalled by the last 20 years of horror films. At the other end of the spectrum, both chronologically and stylistically, A Knife in the Ocean is every bit as epic. This time there are few clues early on of what’s to come, aside from the lyrical theme:

“When I come to walk the line,

the fire may come but we’ll be just fine”,

which again speaks of defiance in the face of darkness. The musical manifestation of this is what takes it to another level. Every crack of the loping drumbeat drags us closer to the light, provided by the widescreen landscape of synths, guitars and burbling electronics, as well as Phillipakis’ ascending screams. A truly remarkable way to end.

1. Kendrick Lamar To Pimp a Butterfly

I know, you guessed correctly. Well done.

Kendrick Lamar made the album he’ll be remembered for. That’s not to say it’s the best album he’ll ever make, more that this is where the world realised this guy is the representative for his generation. The leap from ….M.A.A.D. City to this is Olympian. This is Slim Shady to Marshall Mathers. It’s The Bends to Ok Computer. It’s Talking Book to Innervisions. A man who was already the most respected and one of the most popular, takes a massive gamble which not only pays off handsomely but takes the genre, and arguably the culture, forwards. Even as I write that it sounds like hyperbole, but then I listen again.

The intricate levels of wordplay are worthy of David Fincher, peeling back another layer of meaning with each listen, while the music has the depth to stand up to the rate of repetition needed to discover every song’s secrets. Kendrick has an innate ability to be able to speak to everybody, while remaining the embodiment of where he’s from. Even though it goes against music writing conventions, I feel compelled to call him by his first name, like I actually know him. I know it’s weird, but it just feels right.

I’ve already mentioned that this was the year jazz came into hip hop, and Kendrick was certainly at the forefront of that. The manic freeform stanzas of For Free and U being obvious examples, but there’s a liberal sprinkling throughout. Each listen reveals a little more of the flavour; peeking out from within the electric soul of For Sale?; the sunset coda that closes These Walls; the bongo-led exhalation at the end of The Blacker the Berry.

To Pimp a Butterfly is like a tour of Kendrick’s record collection - the P-funk 1-2 punch of Wesley’s Theory & King Kunta drawing the line from George Clinton to Dre , These Walls coming on like the kind of classic mid 90s R&B that can be heard coming from my dad’s stereo (and probably his) on any given Sunday. For those aching for something more current, there’s the minimal crackle of Hood Politics, the distorted aggression of The Blacker the Berry and the broken beats that open Momma.

In contrast to some others I’ve mentioned, this is an artist that thrives when given total control. The influence of Thundercat is undeniable, but so is the assertion that Kendrick is at the controls. Nothing is here by accident - the spoken word refrain unravelling at the perfect speed to lend further resonance to each track , the incendiary cover of the kids from the ghetto taking over the White House.

There would have been people at the record company having kittens when he told them he was taking the album’s solid gold hit single and turning it into what sounds like a live recording from a shitty mobile phone. Not only that, but he’s throwing out ad-libs to an imaginary crowd, which then descends into a ruckus that makes them stop the music. But this seemingly throwaway act is one of the most important parts of the album. It’s not just a catchy song, it’s a celebration. The themes of i – overcoming depression, love, self-worth, are more than just buzz words – they are the tools to help fight the kinds of aggression and frustration shown by the people fighting in the crowd, and everyone struggling to survive right now:

“2015, niggas tired of playing victims bro”

While this line may focus on the issues of black people, they are universal themes and felt just as keenly in Colchester as they are in Compton. If I is the celebration , The Blacker the Berry is the fiery call to arms. Kendrick verbally prods his finger accusingly at a compendium of targets, without forgetting himself. Normally at this point I’d pick out a few quotes to illustrate what I’m talking about, but this song is such a superb lyrical statement, that I want you to read it all:

http://genius.com/Kendrick-lamar-the-blacker-the-berry-lyrics While you’re there, have a look at his reasoning behind the killer payoff at the end ( under “what have the artists said about the song”). Rather than a pre-emptive strike against those that accuse rappers of glamourising violence, and indeed feeding it, it’s a warning to himself not to go after those that had wronged him.

Someone declaring themselves “ the biggest hypocrite in 2015” a couple of minutes after declaring “I love myself” could be a bit jarring, but these contradictions are not only part of the human condition, but obvious to anyone paying attention to this album – I mean how many times does he say “I remember you was conflicted, sometimes I did the same”?. As the poem finally comes together at the end, and it’s reinterpreted as an interview with 2Pac, again it seems like a strange decision at first, but I see it as a way of talking to himself, through the man he sees the father of his craft, and in particular his ideology - “ An offspring to the legacy he left behind”.

These words are important to him and he wants to share them with those that look at him in the same way he looks at 2pac. It’s no longer a poem, it’s now a mantra; another defence mechanism to arm us against the world.

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theviewfromthebooth · 8 years

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I’ve said it once before, but it bears repeating.....

I'm self aware enough to know that most of my best writing is sparked by spontaneity - when I don't wake up that morning knowing I'm going to write. Not great if you're trying to make a career as a writer, but it means when inspiration does strike, it's all the more enjoyable. The words flow steadily from my brain and out through my fingers like a river, as if I've just mastered a really tricky guitar solo. Today's spark was a question posed on the View from The Booth Facebook page, by my old mate Chris Skrzynski: “I've been thinking...(dangerous, I know!) - Who here, separates paid commercial gigs from "stuff they actually like to play"? ...i.e, will you play any old shit if you're paid to? - Or do you only play stuff you like and have a passion for....and accept gigs only along those lines? - Who here makes a 100% living from just DJing what they enjoy? (if so, is it because you're eclectic like me and can pick up a nice variety and genuinely enjoy it....or have you found a niche playing your exact style?) ....curious of your Views...” These kind of questions make me happy, because this was exactly the kind of debate I wanted the group to throw up – more than just the group therapy session it often becomes. This cuts to the very core of what we do – how much is for you, and how much is for the people? I'm aware that I've covered some of this in previous posts, but:

a) A lot of people reading this won't have read those posts;

b) This is a subject that requires regular re-assessment as I get older.

I have been earning a living solely from DJing for nearly 10 years, with a few writing jobs thrown in over that time, and I think I've been able to find the perfect balance between what they want, and what I want to give them. I wouldn't play a song just because it's popular, or if there's an artist in particular I really don't like I simply won't own any of their music (*cough* Drake *cough*). However, unless the person asking is a dick in how they speak to me, I'll keep talking to them until we find a compromise. After all, I want them to go away happy, and I want them to enjoy themselves.

It's getting harder over time, because the older I get the harder it is to find popular songs I like, but at the same time it's getting easier as I get more experienced in reading crowds and moods, knowing when a song has the potential to be a future classic and knowing when it's time to drop the big banger that makes everyone forget what they were asking for and dance.

It helps that I'm still inspired and excited by new music. It may not be the song topping the charts (it's not as powerful as it once was, but it's still a pretty good indicator of what's popular), but there's plenty of great new music that people will enjoy if you give it to them at the right time of the night. For example, here are some tunes I'm loving right now, that I'll be trying to work into this weekend's sets:

https://play.spotify.com/user/113432450/playlist/2qX0xSBi9OmBzdmhQU3YP3

I still try to play at least one song I've never played before every night. Don't always achieve it, but I'm always striving for evolution. When that ceases to be the case, it's either time to give up or become a lot more niche. I feel like this tactic has worked well - not only because I've consistently had at least one regular gig since 2006, but also the majority of my bookings aren't because someone needs a DJ, but because someone wants me; what I do and how I do it. That, and the love from the crowd/bar staff is the endorsement I need whenever I start getting a bit Danny Glover about the whole situation. I love playing in new places to new faces, and I feel like my record bag is big enough to adapt to most situations, but there have been times where I've played once, didn't enjoy it, and not gone back.

It's a tougher decision when you're as close to the breadline as I am, but I take all of that into consideration when making my decisions. It's my choice, and so I'm in no position to moan about it. I am writing this message at 11am, and I'm in my dressing gown rather than a work shirt. For that, I am extremely thankful! I've seen my dad work a job he doesn't enjoy all of my life, because he had to. When my dad was my age, I was starting secondary school, and my sister was in year 9. I don't have to. I have no responsibility further than keeping myself alive, which has allowed me to concentrate on making a living that still excites me every day, and that's worth so much more to me than a bit more money.

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theviewfromthebooth · 8 years

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THE VIEW FROM THE BOOTH ALBUMS OF 2015 Part 1

As I mentioned on the tracks list, I've been trying to be a bit more organised about my lists this year. Rather than making a note of interesting new releases for the winter binge, I've endeavoured to listen to each as I hear about it. Believe it or not that's actually harder than it sounds, depending upon not only if and where it's available for streaming, but where I am and what I'm doing. This method had an influence on my list, as only 4 of the top 20 were new to me in December. It's also thrown up some amusing juxtapositions, such as Bop English's soft focus bonhomie soundtracking a sardined tube journey during rush hour, or watching Liverpool throw away an FA Cup semi final to the sounds of Young Fathers' queasy hymns. Actually that one was quite appropriate.

But that's just more evidence of music's enduring ability to lift me out of whatever world my body happens to be inhabiting at the time. My ears were a portal to more fantastic and demented universes than a season of Rick & Morty. One of these days it's going to get me run over, but for now I can happily gorge my senses whenever I want to, or need to. Just like Rick, I've been able to decipher a few patterns amongst the insanity. Some have been easier to spot than others, such as the welcome return of Jazz to Hip Hop. In recent times the heavier hitters of the genre have become either progressively more minimalist and discordant, or reliant on dead eyed Autotune and identikit house beats.

In 2015 a raft of skilled lyricists – the likes of Oddisee, Kendrick Lamar & Ghostface Killah - recognised Jazz as the perfect platform upon which to build their intricate tales. That's not to say people haven't done that in the past – listen to any of Oddisee's previous records for starters – but now it seems to be having a real impact. When you've got The Roots as the house band for one of the biggest TV shows in America, you know the climate is right for a new jazz explosion. The other notable trend lives just across the fence from Jazz – Soul. The backbone of soul music could be detected within the DNA of a multitude of different artists. Alabama Shakes made a soul record. Unknown Mortal Orchestra made a soul record. Tame Impala made a soul record. It was only when I replaced Kevin Parker's voice with that of Diana Ross in my head did Currents start to make sense. Even Tiny Tim Burgess' falsetto is finally sounding decent after 4 albums.

These patterns were an interesting sideshow, but it's important they don't dominate the narrative. Too often the music critic in me spends wastes time deliberating what an album represents, rather than what it sounds like. Albums are debated in these terms all across the internet; whether it's Tame Impala evolving beyond the style that has elevated them to the zeitegist, or veterans like Blur and Suede getting back in the saddle to fight questions of relevancy. These debates are often absorbing, and passionate, but essentially worthless. No one actually talks like that in real life do they? When you're describing music you love to somebody, do you use the word “seminal”? Didn't think so.

Those aren't the things I’ll remember when re-visiting these albums in 5 or 10 year's time. I'll remember the way Roisin Murphy manipulates a synth sound like a Theremin. I'll remember how Ratatat mix creamy and crunchy better than anyone. I'll remember Kushal Gaya's caveman bark rampaging throughout Zun Zun Egui's swansong. These are also the things I want you to remember from this review. So let's get to it shall we? We'll start with those bubbling under, in alphabetical order. Stay tuned for the top 20..............

30 Great Albums made in 2015

Welcome to Los Santos The Alchemist & Oh No

Sour Soul BADBADNOTGOOD & Ghostface Killah

Ba Power Bassekou Kouyate & Ngoni Ba

Big Grams Big Grams

The Magic Whip Blur

Constant Bop Bop English

Modern Nature The Charlatans

Young Chasers Circa Waves

One Step Forward Cut La Vis

Compton Dr. Dre

O Shudder Dutch Uncles

Get to Heaven Everything Everything

Shedding Skin Ghostpoet

Why Make Sense? Hot Chip

Lantern Hudson Mohawke

Blood Lianne La Havas

Big GRRL Small World Lizzo

Nothing But Thieves Nothing But Thieves

Slowness Outfit

Man Plans, God Laughs Public Enemy

Darkest Before the Dawn Pusha T

Wolves Rag N Bone Man

Mudface Redman

Bleeds Roots Manuva

Ratchet Shamir

Music in Exile Songhoy Blues

Indie 500 Talib Kweli & 9th Wonder

Currents Tame Impala

Tru Thoughts Covers Vol 2. Various Artists

My Love is Cool Wolf Alice

#bestof2015 #lists #albums #TVFTB

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theviewfromthebooth · 8 years

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THE VIEW FROM THE BOOTH TUNES OF 2015

The pleasantries are out of the way, the annoying members of your family have been placated for another year, everyone who considers themselves cool or cutting edge have done this ages ago – it's now officially time for The View from the Booth tracks and albums of the year. It's been an odd one for me this year; I feel more prepared - due to finally putting in place a system that helps me highlight the good stuff throughout the year, instead of in one mind-bending block – but also less prepared, due to the extended hiatus I have taken from the blog.

My relationship with the art of writing has been pretty fraught these last 12 months, and on more than one occasion I've convinced myself that maybe this isn't what I really want to do any more. The amount of time I've spent in front of this screen, squeezing the toothpaste tube in my head trying to find one more globule of inspiration, has been alarming. And yet, when it came to the crunch, here I am. The idea of me not writing this, despite knowing the weird pressure it puts on myself at a time when the rest of the country has finally allowed themselves a moment to turn their brain off, was genuinely unthinkable. Which means there'll be one of these every year until either my hands or my ears stop working.

Thankfully my ears are still very much in working order. Not only have they had plenty to feed on this year, but I've got a lot better at filtering out what's bad for them, leaving them well nourished and fit enough to dig out a variety of gems, wherever they may be hiding.

Sports montages; DJs playing between bands at a show; intense TV crime dramas; overheard conversations in the Bido Lito office; these were all rich sources of new music. Such was the regularity with which I was engulfed by something new and amazing that this list could easily have been twice as long. It was only the thought of you poor buggers having to listen to it all that stopped it growing to 75. The question I've been asked the most times this year is “what's new and good at the moment?” ( just above “where are the toilets?” and “Do you want anything from the shop?”), particularly by other DJs who are wrestling with the fears of diminishing relevance I have mentioned often in this column.

The funny thing is, despite my experience in the field and the abundance of new music I've enjoyed I often struggle to answer. There's so much I want to say at the same time yet no one thought can break free of the others, like the multiple deadly diseases keeping Mr.Burns alive. That explains why those of you who did ask me this year probably came away unsatisfied.

youtube

Well, allow me to rectify that. Coming your way is a map of my head in 2015, spread out like the base of my feet with every part manipulating a different nerve, or emotion, all over me. These are the songs that alleviated the hand wringing over how much of what I was enjoying translated into my sets. 50% of this list made it out of the speakers of Liverpool venues, which I think is a pretty good hit rate. As always those at the top picked themselves, with a quick glance at the “Most Played” list on my phone providing any necessary confirmation. It's a healthy balance of those who've surprised me, those who've maintained a high level and those who've came out of butt fuck nowhere. What they've all done is create moments that spark me to life; riffs, voices, beats, phrases,noises. That's all that matters really isn't it?

NB: I realise that You Tube playlists aren't many people’s delivery method of choice, but it’s still the only one that allows me to put all 50 songs in the same place. And that was only after creating 2 videos myself. See if you can spot them.

50. Paw due Respect Meow the Jewels

49. Re-run Kamasi Washington

48. Mercy Light Exposure Amique

47. On Fire tonight Blackalicious

46. Born to Shine Big Grams ft. Run the Jewels

45. Hell you Talmbout Janelle Monae

44. Puzzles Unknown Mortal Orchestra

43. Sat Nav Bas Jan

42. Dead Fox Courtney Barnett

41. Ain't nothing changed Loyle Carner

40. Holding on Disclosure ft. Gregory Porter

39. Vertigo Aesop Rock & Homeboy Sandman

38. Untouchable Pusha T

37. Shut up Stormzy

36. Giant Peach Wolf Alice

35. Not Real Stealing Sheep

34. Still have the Love DJ Cut La Vis ft. Maddy Carty

33. Not letting go Tinie Tempah ft. Jess Glynne

32. Shutdown Skepta

31. P.O.W.E.R.F.U.L. P.I.E.R.R.E Hooton Tennis Club

30. Reflective Meditation Rhymes MC Abdominal & DJ Format

29. Siran Fen Bassekou Kouyate & Ngoni Ba

28. African Tree Zun Zun Egui

27. Chains Usher & Nas

26. Nightclub Amnesia Ratatat

25. Fossils Circa Waves

24. In my mind Holy Thursday

23. Can't get enough of myself Santigold

22. Go out Blur

21. House of Glass (Maurice Fulton remix) Roisin Murphy

20. Them Changes Thundercat

19. WTF Missy Elliott

18. Just dropped in (To see what condition my condition

was in ) White Denim

17. Hurache Lights Hot Chip

16. Easy Rider Action Bronson

15. Code #829 A-F-R-O

14. Feel Right Mark Ronson & Mystikal

13. Complexity Eagles Of Death Metal

12. Shame Young Fathers

11. Marks to prove it The Maccabees

10. First light Django Django

9. That's Love Oddisee

8. Go Chemical Brothers

7. Ban all the music Nothing but Thieves

6. Death is a girl Mini Mansions

5. The Blacker the Berry Kendrick Lamar

4. Let it happen Tame Impala

3. Future People Alabama Shakes

2. No.99 Joey Badass

1. What went down Foals

#top 50 songs of 2015 #TVFTB #End of year lists

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