Monthly Archives: November 2011
As the brains behind Chic and many disco hits (with his late musical partner Bernard Edwards) I couldn’t miss the opportunity to see Nile in person when he was in conversation with Dave Haslam at the Zion Arts Centre in Manchester the other week. Nile is such a humble, genuine and likeable person it didn’t take long to become engrossed in the fascinating tales of his childhood and career. I found myself nodding along during the night, and that wasn’t just when he played some of his most famous guitar riffs and basslines, I was also agreeing with what he had to say.
Something struck a chord with me and it was this notion of “DHM”. Don’t get too excited; it’s not some lads’ mag spin off, DHM stands for ‘Deep Hidden Meaning’ within songs. Get listening because there’s a DHM in all Chic’s songs as well as the long list of songs that Nile has produced for other distinguished artists too.
In his autobiography Le Freak, Nile says:
We wrote for the masses, but worked tirelessly to make sure that there was a deeper kernel that would appeal to the savvier listener. (2011, pg. 145)
I’m not going to tell you what David Bowie’s China Girl or Sister Sledge’s Thinking of You means, I’ll leave the fun of discovering that to you, but it got me thinking: wouldn’t it be great if all songs were like that. Maybe I’m becoming cantankerously old if I were to say “They don’t make ‘em like they used to”, so I won’t. But with overly-saturated X Factor culture, cover albums and economies of scale impeding on the music industry it’s certainly a lot harder to find the good stuff nowadays. (Discovering brilliant hidden gems is all part of the experience though!)
Reviewing the latest chart releases has become a regular part of my week now for a feature that I do for Pure Radio and, more often than not, it’s a struggle to find something that I like. I often wonder why, but maybe – just maybe – it’s because of the lack of DHM? Think about it, was Rebecca Black thinking of a DHM when she unleashed Friday onto our ears? How about Cher Lloyd’s number 1 Swagger Jagger or any of Jedward’s latest offerings? They’re not exactly going to go down in the annals of music history are they… Well, not for the right reasons anyway.
Before the Rebecca Black fan club come to hunt me down, let me just say that of course this is all my subjective opinion. My childhood musical memories include the likes Aqua, The Cartoons and Vengaboys whose singles I bought with a big smile on my face at the time, so I am (hopefully) not a music snob. After all, we all love a bit of novelty. YMCA, anyone? But there just seems to be a bit too much novelty nowadays – that’s all.
Aside from this novelty, sampling has become very fashionable and Nile Rodgers knows that all too well. A great website that I like to procrastinate with is called http://www.whosampled.com/ If you type ‘Chic’ into the search box then you’ll see that they have sampled just one track [Duke Ellington’s It Don’t Mean a Thing (If it Ain’t Got that Swing) in 1977’s Everybody Dance, if you’re interested.] However, it’s astonishing to learn that Chic themselves have been sampled a whopping 145 times! It just goes to show that these modern day artists would only want to emulate that sound if it is good, which it certainly is.
Sampling is almost too easy to do; Nile, and countless other producers like him, have spent time and money arranging this music and recording it for it then to be ripped off by someone else. I’m sure it’s not too bad now though, especially when the royalties come rolling in. Of course, an advantage of sampling and covering songs is that it’s a fantastic way to introduce this music to a whole new audience who can then discover the DHM within the songs for themselves.
Does all this DHM stuff really matter? Maybe not initially when you’re dancing the night away, but DHM is what has given these songs longevity because you can listen again and again and hear different nuances within the songs every time. Something that any record producer could learn from, but that is why Nile Rodgers is one of the very best in his field.
In the shadow of John Peel’s picture up on the big screen Radcliffe and Maconie took to the stage to introduce the night’s proceedings. I had managed to get right on the front row and right in front of the rostrum where rock legend Pete Townshend would be standing. Notorious for smashing up hotel rooms on tour with his band The Who… (maybe I shouldn’t have sat on the front row??)
Older and wiser now, this lecture didn’t break the news because of that though. The controversy arose because of this question that he asked, during the course of the lecture:
Is there really any good reason why, just because iTunes exists in the wild west internet land of Facebook and Twitter, it can’t provide some aspect of these services to the artists whose work it bleeds like a digital vampire Northern Rock for its enormous commission?
As you would expect, the media sensationalised this. Townshend’s delivery of the lecture was quite stilted and this often diluted his points when reading from notes, his wit came through during ad-libs. He used his “inner artist” as a way to soften the blow of any criticism. Although, points that I agreed with included how venomous the internet can be; people hide behind their keyboards thinking that this is a shield for them to spout all kinds of vindictive nonsense – just because they can. However, to say that platforms like iTunes should provide some sort of ‘community service’ for new artists is rubbish. You can’t condemn a business for wanting to make money.
Townshend compared the digital internet age to that of radio, commenting that radio is not as driven by money than the internet. Of course it is; you only have to be around on RAJAR day to see how much ratings matter. Big ratings means that people are listening and if people are listening then advertise want their products on your station. That may not apply in the same way to BBC stations but they still, quite rightly, compete fiercely for listeners. They want to make sure that your licence fee money is not wasted.
To have a curator like John Peel guiding listeners through the hits (and misses) of new musical releases was fantastic… but it was also of its time. Peel’s legacy at the helm of the radio industry was in an era when much less choice existed. It was mentioned in the lecture that Peel would often play songs that the listener hated, if that happened nowadays then they can, almost too easily, switch over to another station to find something they do like.
Is ‘Peelism’ dead? I would have thought so. Then like a flash of lightening, I realised that no, in fact it is very much still here. I was sitting down planning the prep sheet for my weekly chillout music specialist show on North Manchester FM when it occurred to me – I am John Peel. Ok, maybe that’s too much of an overstatement but hear me out; you’ll get my gist: Radio presenters in the ‘real world’ (i.e. those who get paid) do not have much, if any, say about the music that they play on their shows. This is within good reason because stations need to play music that they know listeners will like so that they keep tuned in to that station, like we discussed above. This is when art blends quite neatly over into science because most stations like to conduct audience research to make sure that they get the selection of music that they play right.
On community radio it’s different; I don’t get paid but present and produce shows because I enjoy it – it’s the best hobby in the world. I compile my playlists as best I can to the criteria of what the audience want to hear within the chillout genre, just like a commercial station would do, but I also have the freedom to put in as many tracks that I like too. I do this as a way of introducing my listeners to new songs that they might not have been familiar with. This is the ethos behind most specialist music shows that you hear on community radio and it was also what John Peel liked to do with his shows too.
It was an overstatement, I’m not John Peel and I definitely do not have the amount of listeners that he did. However, I’ve been presenting my show for four years now and during that time I’ve developed a nice little following of regular listeners who request songs and interact with me when I’m on-air and off-air via social media. From feedback that I get it is obvious that they love the fact that they can listen to the show, discover new music that they hadn’t been aware of and, who knows, they might even download a copy of the tracks they like later.
The legacy of John Peel lives on. You just have to search a little harder to find shows that are like what he used to do – and community radio is a rich source of shows like that. Ironically it’s come full circle because I do all the research for my radio shows on the internet using platforms such as iTunes to help me access the music that I need.
Who cares if iTunes is what Pete Townshend calls a “digital vampire”… I hate Twilight anyway!
Here’s a clip from Pete Townshend’s John Peel lecture:
Radio has been a hobby of mine for almost four years now, I suppose I’m what you could call an ‘anorak’; I love all aspects of the medium. Whether that is producing, presenting or my specialism in marketing, you name it and I’ve done it at some point… Yes, that even includes dressing up as a panda in an electrical store – don’t ask!
You can imagine my excitement then when I got asked to be part of a team working on Radio Festival Radio, producing podcasts that would cover every aspect for the pinnacle event for the industry held over three days at The Lowry in Salford Quays, which is appropriately just across the water from MediaCityUK.
While most people were getting their stash of sweets and fancy dress outfit ready for Halloween on the 31st of October, I was off to the first day of the festival attending Foot in the Door. This offers budding professionals the chance to ask questions and network with people who are already well established in the industry. This was an invaluable session with plenty of information and inspiration to boot.
Later that evening I had signed up to the inaugural John Peel Lecture hosted by Radcliffe and Maconie and given by rock legend Pete Townsend of The Who. Pete was talking about the impact that the internet is having radio as a way for listeners to source new music (or “Peelism”, as he called it). I was the only reporter from Festival Radio covering this session, so had a lot responsibility. Little did I know the lecture would break the news and become the most read story of the day on the BBC website! Why? Well, one of the quotes from Pete’s speech called iTunes “The digital version of Northern Rock” – controversial to say the least! Pete used the safety net of what he called his “inner artist” to deliver any criticism of Apple’s products, a bit of a cop out if you ask me. Although, the irony of all this is that questions from listeners were being taken via an iPod!
[This lecture was broadcast live from the Quays Theatre for 6Music. If you want to listen to it then it’s available on BBC iPlayer for a week and I’m sure snippets will be around on YouTube long after that.]
Day two is always a busy one at the festival and I was covering the People Power session, focusing on managerial methods that can be utilised within stations. Interestingly, insights here were given from those in fields outside of the radio industry. The panel included Barry Hearn and Tessa Sanderson from the world of sport as well as Dragon Duncan Bannatyne to give a business perspective. An interesting session where I thought the best moment was Duncan admitting that he isn’t a “people person” (despite the session being called ‘People Power!’) I asked him about this when I interviewed him after for the Festival Radio podcast… then I was ‘out’ and off to edit it all!
There were a lot of sore heads the day after, a good sign that the PPL Hall of Fame Dinner held at Gorton Monastery went down well then! Congratulations to Andy Peebles, Peter Allen, Jane Garvey and Sir Jimmy Young CBE, who all were inducted this year, as well as Ronnie Wood who was given the lifetime achievement award. I started Wednesday up in the Compass Room covering Terry Underhill’s session on playlists. The panel included controllers from BBC network and commercial radio who discussed the importance of audience research when deciding what music is the best fit for each station. A gut instinct is also required though too of course; something that BBC Radio 2 and 6Music music must rely on a lot, as it was revealed that they compile very little research in this area.
After a short break, the next session I covered was exploring a fairly recent development in radio which is something getting increasingly prevalent in our whizz-kid society – social media. This session was hosted by Scott Mills and featured Ken Benson from P1 research who had flown over from California to give his insights. Brett Spencer, interactive editor for BBC Radio 2 and 6Music, gave praise to BBC Three Counties’ John Vaughn Show for getting the, now infamous, ‘Angry Melvin’ rant about the Royal Wedding onto AudioBoo while that show was still on-air. Marketing expect Rachel Clarke then told delegates what not to do when utilising social media. The key lesson here being: “Don’t be stupid”.
Back to the production room to edit the content, then within a flash the final podcast was uploaded and my Radio Festival experience for 2011 was over. It has been a pleasure to work with so many talented people who I’m sure all have bright futures ahead of them – just remember that you heard them on Festival Radio first! Special thanks must go to Kate Cocker and Heather Davies for their advice and encouragement over these past few days.
If you want to listen to Festival Radio’s coverage of the Radio Festival then the podcasts are available to be downloaded here: http://www.radioacademy.org/podcasts/ For more details on next year’s festival stay tuned – as we say!