Three-time Grammy nominated B.Slade wins an Emmy

November 21, 2017 in News

B.Slade

B.Slade: “To be bestowed with this great honour was the farthest thing from mind that night”

The songwriter-producer wins TV award for his participation in the ’34th Annual Black Music and the Civil Rights Movement Concert’

American singer, songwriter and producer Anthony Williams II – better known by his stage name B.Slade – has won an Emmy Award for his participation in the 34th Annual Black Music and the Civil Rights Movement Concert. Curated by Curtis King, the concert dramatised and reflected on the life and legacy of Dr. Martin Luther King, Jr. through narration, music and dance, and has received four Emmy nominations honouring its production and performances featuring special guest artists, B.Slade, Bilal, Earnest Pugh and Malik Yoba, along with the TBAAL 200-voice concert choir.

“To be bestowed with this great honour was the farthest thing from mind that night,” exclaimed B.Slade. “I’m only a part of a whole collective of black men in the arts whose ingenious qualities have inspired me for many years. My goal is to complete my career acronym of ‘E.G.O.T.’ With sheer excitement I can announce that I’ve finally earned my letter ‘E’. Dr. Martin Luther King’s legacy continues on because of this type of programming created by Curtis King. Thank you God for using both Mr. King and Vanzil Burke to create such an amazing opportunity for me.”

As a songwriter and producer, B.Slade has worked with some of the biggest artists in the music industry, including Chaka Khan, Sheila E., Faith Evans and Angie Fisher, for which he wrote and co-produced her 2014 debut hit single, I.R.S., garnering Fisher’s first and B.Slade’s third Grammy nomination. B.Slade co-wrote and co-produced actress and singer Tisha Campbell-Martin’s single, Steel Here, and wrote and produced Chaka Khan’s 2017 single I Love Myself. He also featured as a guest vocalist and songwriter/producer on Snoop Dogg’s upcoming gospel album, Bible Of Love, and its lead single, Words Are Few, was written and produced by B.Slade.

B.Slade has just released his self-titled debut album in collaboration with RSVP Records/Ropeadope. Find out more at bsladenow.com

UK & US Songwriting Charts (10-25 Nov 2017)

November 20, 2017 in News

Taylor Swift

Taylor Swift: returns to the US chart at No 5 after the long-awaited release of her sixth album Reputation

Find out who are top of the pop songwriters, based on the week’s UK Singles Chart and Billboard Hot 100…

A final teaser in the form of Call It What You Want was released in the days leading up to Taylor Swift’s long awaited sixth studio album, Reputation. The collaboration between long-time co-writers Swift and Jack Antonoff – of Fun and Bleachers – debuted at No 27 this week on the Billboard Hot 100.

Though the recorded version was made with a music production controller, live kick, dx7 strings, and samples of Taylor’s voice, Swift opted acoustic during its live debut on SNL, proving that a pop song can stand on its own two feet.

US Songwriting Chart (25 November 2017)


RANK SONGWRITER SONG – ARTIST
1 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
My Choppa Hate N****s – 21 Savage & Metro Boomin
2 ED SHEERAN Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Strip That Down – Liam Payne (ft. Quavo)
3 MICHAEL WILLIAMS II Unforgettable – French Montana (ft. Swae Lee)
Humble – Kendrick Lamar
Rake It Up – Yo Gotti (ft. Nicki Minaj)
4 LELAND WAYNE My Choppa Hate N****s – 21 Savage & Metro Boomin
Mad Stalkers – 21 Savage, Offset, & Metro Boomin
Rap Saved Me – 21 Savage, Offset, & Metro Boomin (ft. Quavo)
Ghostface Killers – 21 Savage, Offset, & Metro Boomin (ft. Travis Scott)
I Get That Bag – Gucci Mane (ft. Migos)
Nightmare – Offset & Metro Boomin
Ric Flair Drip – Offset & Metro Boomin
Congratulations – Post Malone (ft. Quavo)
5 TAYLOR SWIFT …Ready For It? – Taylor Swift
Gorgeous – Taylor Swift
Look What You Made Me Do – Taylor Swift
Call It What You Want – Taylor Swift
6 AUSTIN POST Go Flex – Post Malone
Candy Paint – Post Malone
I Fall Apart – Post Malone
Rockstar – Post Malone (ft. 21 Savage)
Congratulations – Post Malone (ft. Quavo)
7 KIARI CEPHUS Rap Saved Me – 21 Savage, Offset, & Metro Boomin (ft. Quavo)
Ghostface Killers – 21 Savage, Offset, & Metro Boomin (ft. Travis Scott)
Mad Stalkers – 21 Savage, Offset, & Metro Boomin
Patek Water – Future & Young Thug (ft. Offset)
MotorSport – Migos, Nicki Minaj & Cardi B
Ric Flair Drip – Offset & Metro Boomin
Nightmare – Offset & Metro Boomin
8 CHARLIE PUTH & JACOB KASHER Attention – Charlie Puth
How Long – Charlie Puth
9 QUAVIOUS MARSHALL Rap Saved Me – 21 Savage, Offset, & Metro Boomin (ft. Quavo)
I Get That Bag – Gucci Mane (ft. Migos)
Strip That Down – Liam Payne (ft. Quavo)
MotorSport – Migos, Nicki Minaj & Cardi B
Congratulations – Post Malone (ft. Quavo)
10 LOUIS BELL Rockstar – Post Malone (ft. 21 Savage)
Congratulations – Post Malone (ft. Quavo)
Candy Paint – Post Malone
Wolves – Selena Gomez X Marshmello

Every track charting on the Billboard Hot 100 for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.

UK Songwriting Chart (10 November 2017)


RANK SONGWRITER SONG – ARTIST
1 DAVE How I Met My Ex – Dave
My 19th Birthday – Dave
No Words – Dave (ft. Mostack)
2 ED SHEERAN A Different Way – DJ Snake (ft. Lauv)
Castle On The Hill – Ed Sheeran
Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Your Song – Rita Ora
3 KHALID ROBINSON Young Dumb & Broke – Khalid
1-800-273-8255 – Logic (ft. Alessia Cara & Khalid)
Silence – Marshmello (ft. Khalid)
4 MICHAEL DAPAAH Man’s Not Hot – Big Shaq
5 PHARRELL WILLIAMS Havana – Camila Cabello (ft. Young Thug)
Feels – Calvin Harris (ft. Pharrell Williams, Katy Perry and Big Sean
Lemon – N.E.R.D & Rihanna
6 YXNG BANE Bestie – Yungen (ft. Yxng Bane)
Rihanna – Yxng Bane
7 NATHAN FEUERSTEIN Let You Down – NF
8 MARC KINCHEN 17 – MK
9 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
10 TAYLOR SWIFT Call It What You Want – Taylor Swift
Gorgeous – Taylor Swift
…Ready For It? – Taylor Swift

Every track charting on the UK’s Official Singles Chart for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.


Royalty Exchange logo The Hot Hitmakers chart is repurposed with kind permission of Royalty Exchange, the online music royalties marketplace.

‘A Long Way From Your Heart’ by Turnpike Troubadours (Album)

November 20, 2017 in Music Reviews

Turnpike Troubadours. Photo: David McClister

Turnpike Troubadours: such an interesting proposition. Photo: David McClister

The fourth album from these rootsy Oklahoma rockers is an enticing marriage of classic character-driven storytelling and dramatically powerful musicianship

Turnpike Troubadours 'A Long Way From Your Heart' album coverThe Oklahoma roots-rock sextet return with the follow-up to 2015’s The Turnpike Troubadours and it’s a record that has the potential to build upon the critical and commercial success of its predecessor. With a release date that coincides with Thanksgiving, it’s entirely fitting that these songs are packed with the kind of stories families will be telling each other around the dinner table, brought to theatrical life by the group’s energetic and proficient musicianship.

At the heart of the record is the songwriting and storytelling ability of frontman Evan Felker. Having returned to Okemah, the city of his birth, he has clearly been inspired to pack A Long Way From Your Heart with characters and themes that are close to home. From opening track The Housefire, a tale of devastation and loss, right through to the final notes of Sunday Morning Paper, inspired by his uncle, there’s a lived-in familiarity to the songs.

Rather than leave Felker and his compositions to their own devices, the rest of the group elevate the tracks out of the potentially barren surroundings you might expect to find them in. Whether with slick licks (Something To Hold On To), rousing hoedowns (The Winding Stair Mountain Blues) or country swagger (The Hard Way), the band bring more than a dash of drama to proceedings. It’s this combination that makes Turnpike Troubadours such an interesting proposition and has helped them create another triumph.

Verdict: The hot streak continues

Duncan Haskell

Introducing… Rhys Lewis

November 19, 2017 in Features, Interviews

Rhys Lewis

Rhys Lewis: “I hope that in some ways the sound is nostalgic but not too retro”

A scheduled songwriting trip to the Isle of Wight proved to be the decisive moment for this talented young artist

Name: Rhys Lewis

Age: 26

Location: London, UK

Style: A modern songwriter with a classic sound

Look out for: New single Reason To Hate You


Having written in London, Nashville, Stockholm, Los Angeles and Berlin, it comes as a slight surprise that the music of Rhys Lewis truly came together on the Isle of Wight. Yet that’s exactly what happened when the London-based pop troubadour started working with the sibling production team of Boe Weaver. “I went and did one or two days with them to see how we got along,” say Lewis. “I ended up recording my first single there. They had all the gear and all of the ideas that I had in my head so it was a match made in heaven which turned out really well.”

He continues, “My label said, ‘this sounds really great, why don’t we release it as a first single?’ Then we did a few more sessions. It wasn’t like we ever said ‘right we’re going to start recording the album,’ we just kept going and then we had about ten or so songs and it just felt like a record.”

“I DIDN’T WANT IT TO BE PRISTINE POP”

Lewis music is a nuanced combination of the modern and the classic which lends tracks such as Wish I Was Sober and I Know The Feeling both a timeless and contemporary feel. “I’m really drawing from the music that I loved growing up,” he explains. “Motown and soul stuff as well as some of the earlier Led Zeppelin and Fleetwood Mac recordings. I knew I didn’t want it to be pristine pop but I also knew I wanted it to feel contemporary and punchy in a way that modern music has only started to feel in the past 10 years or so.”

“I was just taking older sounds and instruments and trying to find modern equivalents which sounded like they did the same job,” he says. “So an organ part on a synth and things like that, which sound both familiar and not the same. I hope that in some ways the sound is nostalgic but not too retro.” The album will be released in 2018 and based on the strength of his early singles Lewis has achieved precisely what he set out to do. Perhaps a few more songwriters should take the short trip across the Solent.

Interview: Duncan Haskell


For the latest info on Rhys Lewis’ releases and shows, go to rhyslewisofficial.com

AC/DC co-founder Malcolm Young dies

November 18, 2017 in News

Malcolm Young

Malcolm Young in 2010. Photo: Pandemonium73/Creative Commons

Australian guitarist and songwriter passes away peacefully at home, at the age of 64, after a long battle with dementia

Australian guitarist and AC/DC co-founder Malcolm Young has died aged 64 after a long battle with dementia. He died peacefully on Saturday with his family nearby, read a statement. Except for a brief absence in 1988, Young was with the hard rock band from its formation in 1973 until retiring in 2014 due to the dementia’s onset.

AC/DC became one of the most popular rock bands in history, releasing 17 studio albums, with Malcolm Young at the heart of the group’s songwriting team. With his brother Angus and singer Brian Johnson, he wrote all the tracks on their best-selling LP, Back In Black, which has sold an estimated 50 million copies worldwide.

“Today it is with deep heartfelt sadness that AC/DC has to announce the passing of Malcolm Young,” read the band’s website, confirming the news. “Malcolm, along with Angus, was the founder and creator of AC/DC. With enormous dedication and commitment he was the driving force behind the band.

“As a guitarist, songwriter and visionary he was a perfectionist and a unique man. He always stuck to his guns and did and said exactly what he wanted. He took great pride in all that he endeavored. His loyalty to the fans was unsurpassed.”

The statement continued: “As his brother it is hard to express in words what he has meant to me during my life, the bond we had was unique and very special. He leaves behind an enormous legacy that will live on forever. Malcolm, job well done.”

Young is survived by his wife Linda, children Cara and Ross, son-in-law Josh, three grandchildren, sister and brother.

Improving deaf and disabled people’s access to music

November 17, 2017 in News

DIY Access Guide

Get your free copy of DIY Access Guide today. Credit: Attitude Is Everything

DIY Access Guide shows people how they can make live music venues more accessible for disabled music fans and artists

DIY Access Guide acts as a step-by-step manual for bands, artists and promoters. The zine-style guide has been put together by the charity Attitude Is Everything, an organisation that aims to improve the live music experience for deaf and disabled music fans and performers.

The guide offers loads of tips on how to book gigs, legal advice and how to create captions for lyrics. It explains how to make live music more inclusive by answering questions like: “Do you want all your fans to be able to see you play live?” and “Imagine missing your favourite band because there are some steps that could easily be ramped.”

Gig-goer and blogger Hannah McKearnen explains: “Most places do not intentionally shut us out, they’re just lacking the right tools and knowledge. It’s so important for bands and promoters to be aware of the access barriers that their fans face, so they can work with venues to solve them.”

You can get your free copy of DIY Access Guide here.

‘At The House Of Cash’ by Chris Gantry (Album)

November 16, 2017 in Music Reviews

Chris Gantry. Photo: Nancy Rhoda

Chris Gantry: “Never are you fixed but rather always going on” Photo: Nancy Rhoda

Recorded back in 1973, this album still sounds fresher than any other country release you’re likely to hear this year

Chris Gantry 'At The House Of Cash' album coverHaving settled in at Johnny Cash’s studio in 1973, Chris Gantry recorded an album that expanded upon his already individual variety of country music. At The House Of Cash didn’t find a backer in the Nashville of its day, seen as too far out for the ears of the age. It’s not as if the Music City of Luke Bryan and Keith Urban is now a radical place, but there are plenty of listeners far and wide who will welcome the release of this lost gem which brings together country, folk, psychedelia and the influence of the Beat Generation.

Away Away sets the tone for the record, matching sci-fi effects with Gantry’s yearning vocals and there’s plenty of melody underneath the song’s sonic bonnet. Different has a more spiritual feel, encased as it is inside an uplifting soundscape. So far so good, but Tear is the track where the true extent of Gantry’s vision reveals itself. A spoken word stream of consciousness is backed by what feels like a full orchestra playing a trippier version of Prokofiev’s Peter And The Wolf. The line “Never are you fixed but rather always going on” could be the album’s mantra as what follows are songs such as the bluesy Dreamin’ Of A Leavin Train, the kaleidoscopic ballad Flower Of The Mountain and poetry-infused Hatred For Feeny. That these styles sound comfortable together is somewhat miraculous, matching the myriad personality traits of their creator.

The album’s penultimate song finds everything converging into one magical moment. In the role of a troubadour on the cosmic highway, Gantry unleashes a song which should be a standard for the outlaws and the outsiders who have helped make country music so interesting over the decades. It also serves as a reminder of his immense talent.

We’ll never know why this album wasn’t considered suitable for release back in the day; instead we should just be thankful that we finally get to indulge in its magisterial mayhem.

Verdict: A true classic

Duncan Haskell

Fleetwood Mac reissuing self-titled 1975 album

November 16, 2017 in News

Fleetwood_Mac

Fleetwood Mac are reissuing the tenth studio album next year. Credit: Sarah McKagen

The legendary British-American rock group will reissue their tenth studio album next January, before embarking on their farewell world tour

2018 will be a sad year for Fleetwood Mac fans, with the group heading out on a farewell world tour. However, it’s not all bad news because the group will also be reissuing their self-titled 1975 album and it’ll feature unreleased material.

Fleetwood Mac will be reissued on January 19 via Warner Bros and will come in three formats: a single-CD, a 2xCD version with never before released live and studio recording, and a deluxe 3xCD/LP/DVD package that includes all the same goodies and even more live material.

Included in the unreleased songs are early versions of Rhiannon, Landslide, and Say You Love Me, among others.

Fleetwood Mac made it to No 1 on the US Billboard 200 and No 23 on the UK Albums Chart when it was originally released.

You can see the full tracklisting for the reissued version of Fleetwood Mac below:

Disc One – Original Album Remastered and Singles
Monday Morning
Warm Ways
Blue Letter
Rhiannon
Over My Head
Crystal
Say You Love Me
Landslide
World Turning
Sugar Daddy
I’m So Afraid
Over My Head
– Single Version
Rhiannon – Single Version
Say You Love Me – Single Version
Blue Letter – Single Version

Disc Two – Alternates and Live
Monday Morning
Warm Ways
Blue Letter
Rhiannon
Over My Head
Crystal
Say You Love Me
Landslide
World Turning
Sugar Daddy
I’m So Afraid
Over My Head
Rhiannon
Why
World Turning
Jam #2
I’m So Afraid

Disc Three – Live
Get Like You Used To Be
Station Man
Spare Me A Little
Rhiannon
Why
Landslide
Over My Head
I’m So Afraid
Oh Well
The Green Manalishi (With The Two Pronged Crown)
World Turning
Blue Letter
Don’t Let Me Down Again
Hypnotized

Yamaha updates acoustic electric guitars

November 15, 2017 in Gear, News

Yamaha APX600 and CPX600

Yamaha’s new thin-body APX600 (top) and medium-jumbo CPX600

The APX600 and CPX600 models keep construction and electronics of their predecessors, but offer enhancements in looks, sound and playability

Yamaha has announced the launch of the APX600 and CPX600 acoustic electric guitars, instruments that have been designed with the aim to improve on the craftsmanship, design, tone and playability of the APX500II and CPX500III.

The APX600 continues the company’s thin-body line of guitars, whereas the CPX600 offers a medium-jumbo profile. While the new models maintain the scalloped bracing and electronics of the 500III generation, key new features include fresh finishes for both models and an upgrade to a genuine abalone rosette in the APX600. In addition, the scale length of the APX model has been shortened from 25 9/16 inches to 25 inches.

The thin-body APX600 comprises a spruce top, eastern mahogany back and sides, die-cast tuners and Yamaha’s System55T preamp – a one-way piezo pickup with three-band equaliser with an adjustable midrange, and an onboard tuner. The medium-jumbo profile CPX600 is the full-bodied sibling of the APX600, and also offers a spruce top, eastern mahogany back and sides, die-cast tuners, and System55T preamp.

“Guitarists today favor acoustic electric instruments that carry a smaller profile to make them more portable and versatile in both amateur and pro settings,” commented Yamaha’s Dennis Webster. “The APX600 and CPX600 are the perfect answer, and these latest models are built to suit the needs of discerning players.”

The Yamaha APX600 will be priced at $470 (approx. £355) and the CPX600 will be $575 (approx. £435), with both guitars shipping in January 2018. Both models are available in Old Violin Sunburst and Black, the APX600 is also available in Vintage White and Oriental Blue Burst, and the CPX600 in Root Beer and Vintage Tint. For more information, visit usa.yamaha.com

Interview: Hazel English

November 14, 2017 in Features, Interviews

Hazel English. Photo: Greyson MacAlpine

Hazel English: “I was reading Philip K Dick at the time, so was feeling a little existential!” Photo: Greyson MacAlpine

We get to know the hotly tipped, Aussie indie-pop songwriter and hear of her passion for sci-fi and confessional poets

Four years ago Australian indie-pop songwriter Hazel English left her homeland to study in America, having studied creative writing in Melbourne. After releasing and touring her brilliant Just Give In/Never Going Home collection, she now finds herself one of most hotly tipped artists of a vibrant Oakland scene which includes Songwriting favourite Jay Som.

We were fortunate enough to catch some time with Hazel and discover just what it is she’d liked to be asked in an interview, along with picking up some great insight on how she crafts her songs.


How was your recent European tour

“It was great. We had a really good reception and the weather was awesome, which made it really nice; I felt really good about it.”

Which venue was your favourite?

“That’s a really tough question! I think the London show was my best; it was just really fun and people were singing along and I just had a really good vibe. We played there in November [2016]. I just feel like we always have a really good reception there – our first show was sold out and it was just a really nice crowd. It’s really nice to play in places where I feel that people enjoy the music and get into it.”

How did you write your song It’s Not Real?

“That song, I had the lyrics already as a stream of consciousness in my diary and I was waiting to put them into a song when I had the music ready. I think that I was reading Philip K Dick at the time, so was feeling a little existential! I was just kinda going through a phase of questioning everything.”

How do you normally write music: do you start with a lyric, or a melody, or a combination?

“Usually how I do it is that I have a melody and then I’ll kind of fit the words to the melody. Then I’ll find stuff that works with that, then maybe cut a few words out, or add a little bit to make it work.”

Do you think that studying creative writing helps your songwriting?

“I think so. I don’t analyse it too much, but it does make it easier, maybe less daunting, to write lyrics and I find that the easiest part of the process. I don’t know how other musicians approach their writing, but I guess that I take a lot of care when it comes to the lyrics.”

Does how you write your lyrics translate to how you write your music: do you have a formula that you use for both?

“I don’t try to put too many limitations on myself because I try out different approaches; I like to be open about my writing because it make it more fun if I go about it that way. So, honestly, it’s usually different every time because sometimes I’ll come up with the melody first and sometimes I’ll come up with the chords first, it really just depends how the inspiration strikes.

“I think it’s good to leave it open, so that those moments when you make a mistake and go “on no, that’s a bad note” and then you find that there could be something there. I feel like the mistakes that you make can be something really cool, or something you hadn’t thought of before.”

Hazel English. Photo: Kelia Anne and Luca Venter

Hazel English: “Not every song is going to be amazing and you only get better by practicing.” Photo: Kelia Anne and Luca Venter

Which artists inspire you?

“I listen to lots of music, but I do have my favourites that I always come back to: Fleetwood Mac, Cocteau Twins, and The Smiths.”

You’ve relocated from your homeland (Australia) to the United States. What was the reason for that?

“I was studying in America, I had the opportunity to study abroad, and I had always wanted to live in San Francisco, so I just decided that this was my chance. I was supposed to only go for six months and here I am four years later, still here!”

What’s the music scene like?

“It’s really great. It’s a real communal vibe; everybody is super open and supportive of each other, which I really love. It’s quite a tight knit community and there’s always room for new bands to come up; I kinda feel like there’s no hierarchy and that everybody sees each other as equal, which is really nice.”

Are there any artists from the scene that you want to shout about?

“You might already know Jay Som because she’s been getting a lot of press lately, But Jay Som is great. We played with them before and we’re good friends with those guys – Melina is super lovely, I think she’s just doing really amazing things and it’s really exciting to see that happen.”

“It was really cool because I was able to see them play in London when I was there – Jay Som played with Day Wave, so I was able to hang out with all my friends from the Bay Area and see them play.”

What would you write about your music? What questions would you like to be asked about it?

“I guess would maybe ask what writers I’m into and what I enjoy reading. I’m really into science fiction: Philip K Dick, Kurt Vonnegut…But I also really love poetry, which probably doesn’t come as much of a surprise. I’m a very big Sylvia Plath fan and Ted Hughes, I just have a whole shelf of my book shelf. And Anne Sexton. I just really like the confessional poets.”

As a songwriter, what advice would you give to our aspiring songwriters?

“I would say just don’t be afraid to write about songs. Because not every song is going to be amazing and you only get better by practicing, so just do it: keep writing and don’t worry if it’s going to be a good song, just finish it and keep going.”

“Because that can sometimes hold me back, I get into that habit of getting worried about whether it’s a good song or not. You can just write a song and you don’t have to share it, but at least finish it because then you’ve got something to build on.”

Interview: Damien Girling


Hazel’s two EPs Just Give In and Never Going Home are out now. Find out more at hazelenglish.com

T-Swizzle touring the US next year

November 14, 2017 in News

Taylor-Swift

Catch T-Swiz on tour in the US next year. Credit: Eva Rinaldi

Following the release of her sixth studio LP, ‘Reputation’, Taylor Swift has announced she’ll embark on a 2018 US tour

It’s been less than a week since Taylor Swift released her sixth studio album, Reputation, but she’s not made that the only gift to her fans this month: Swift has also announced that she’ll be touring the US next year.

Swift’s 27 date tour begins with a performance at Glendale’s University of Phoenix Stadium on 8 May, before finishing 5 months later with a show at Arlington’s AT&T Stadium on 6 October.

You can see the full tour dates below:

May
8 – Glendale, AZ @ University of Phoenix Stadium
12 – Santa Clara, CA @ Levi’s Stadium
19 – Pasadena, CA @ Rose Bowl
22 – Seattle, WA @ CenturyLink Field
25 – Denver, CO @ Sports Authority Field At Mile High

June
2 – Chicago, IL @ Soldier Field
30 – Louisville, KY @ Papa John’s Cardinal Stadium

July
7 – Columbus, OH @ Ohio Stadium
10 – Washington, DC @ FedEx Field
14 – Philadelphia, PA @ Lincoln Financial Field
17 – Cleveland, OH @ First Energy Stadium
21 – East Rutherford, NJ @ MetLife Stadium
28 – Foxborough, MA @ Gillette Stadium

August
4 – Toronto, ON @ Rogers Centre
7 – Pittsburgh, PA @ Heinz Field
11 – Atlanta, GA @ Mercedes-Benz Stadium
14 – Tampa, FL @ Raymond James Stadium
18 – Miami, FL @ Hard Rock Stadium
25 – Nashville, TN @ Nissan Stadium
28 – Detroit, MI @ Ford Field

September
1 – Minneapolis, MN @ U.S. Bank Stadium
8 – Kansas City, MO @ Arrowhead Stadium
15 – Indianapolis, IN @ Lucas Oil Stadium
18 – St. Louis, MO @ The Dome at America’s Center
22 – New Orleans, LA @ Mercedes-Benz Superdome
29 – Houston, TX @ NRG Stadium

October
6 – Arlington, TX @ AT&T Stadium

UK & US Songwriting Charts (3-18 Nov 2017)

November 13, 2017 in News

Without Warning album cover

Without Warning: the new collaborative studio album by 21 Savage, Offset and Metro Boomin

Rap trio Shayaa, Leland and Kiari dominate this week’s hotlist following the release of their new collaborative album ‘Without Warning’

It’s no secret that songwriters collaborate all the time, but Shayaa Abraham-Joseph (aka 21 Savage), Leland Wayne (aka Metro Boomin), and Kiari Cephus (aka Offset) have taken co-writing to the next level, and released a 10-track collaborative album. The album, titled Without Warning, closely follows the chart-topping collaboration between Future and Young Thug, Super Slimey.

This week, four songs from the album – Rap Saved Me, Ric Flair Drop, Ghostface Killers and My Choppa Hate N****s – hit the Billboard Hot 100, claiming the No 1 and No 7 positions for Shayaa and Leland, respectively.

US Songwriting Chart (18 November 2017)


RANK SONGWRITER SONG – ARTIST
1 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
My Choppa Hate N****s – 21 Savage & Metro Boomin
2 ED SHEERAN Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Strip That Down – Liam Payne (ft. Quavo)
3 MICHAEL WILLIAMS II Unforgettable – French Montana (ft. Swae Lee)
Humble – Kendrick Lamar
Rake It Up – Yo Gotti (ft. Nicki Minaj)
4 AUSTIN POST Go Flex – Post Malone
Candy Paint – Post Malone
I Fall Apart – Post Malone
Rockstar – Post Malone (ft. 21 Savage)
Congratulations – Post Malone (ft. Quavo)
5 CHARLIE PUTH & JACOB KASHER Attention – Charlie Puth
How Long – Charlie Puth
6 QUAVIOUS MARSHALL Rap Saved Me – 21 Savage, Offset, & Metro Boomin (ft. Quavo)
I Get That Bag – Gucci Mane (ft. Migos)
Strip That Down – Liam Payne (ft. Quavo)
MotorSport – Migos, Nicki Minaj, & Cardi B
Congratulations – Post Malone (ft. Quavo)
Too Hotty – Quality Control (ft. Quavo, Taekoff, & Offset)
7 LELAND WAYNE My Choppa Hate N****s – 21 Savage & Metro Boomin
Rap Saved Me – 21 Savage, Offset, & Metro Boomin (ft. Quavo)
Ghostface Killers – 21 Savage, Offset, & Metro Boomin (ft. Travis Scott)
I Get That Bag – Gucci Mane (ft. Migos)
Ric Flair Drip – Offset & Metro Boomin
Congratulations – Post Malone (ft. Quavo)
8 KHALID ROBINSON Location – Khalid
1-800-273-8255 – Logic (ft. Alessia Cara & Khalid)
Silence – Marshmello (ft. Khalid)
9 LOUIS BELL Rockstar – Post Malone (ft. 21 Savage)
Congratulations – Post Malone (ft. Quavo)
Candy Paint – Post Malone
Wolves – Selena Gomez X Marshmello
10 BELCALIS ALMANZAR Bodak Yellow (Money Moves) – Cardi B
No Limit – G-Eazy [ft. A$AP Rocky & Cardi B
MotorSport – Migos, Nicki Minaj, & Cardi B

Every track charting on the Billboard Hot 100 for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.

UK Songwriting Chart (3 November 2017)


RANK SONGWRITER SONG – ARTIST
1 ED SHEERAN A Different Way – DJ Snake (ft. Lauv)
Castle On The Hill – Ed Sheeran
Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Strip That Down – Liam Payne (ft. Quavo)
Your Song – Rita Ora
2 KHALID ROBINSON Young Dumb & Broke – Khalid
1-800-273-8255 – Logic (ft. Alessia Cara & Khalid)
Silence – Marshmello (ft. Khalid)
3 YXNG BANE Bestie – Yungen (ft. Yxng Bane)
Rihanna – Yxng Bane
4 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
5 MICHAEL DAPAAH Man’s Not Hot – Big Shaq
6 MARC KINCHEN 17 – MK
7 NATHAN FEUERSTEIN Let You Down – NF
8 STEVE MAC A Different Way – DJ Snake (ft. Lauv)
Shape Of You – Ed Sheeran
Bedroom Floor – Liam Payne
Strip That Down – Liam Payne (ft. Quavo)
What About Us – Pink
Your Song – Rita Ora
9 ROD TEMPERTON Thriller – Michael Jackson
10 LOUIS BELL Havana – Camila Cabello (ft. Young Thug)
Congratulations – Post Malone (ft. Quavo)
Rockstar – Post Malone (ft. 21 Savage)
Wolves – Selena Gomez X Marshmello

Every track charting on the UK’s Official Singles Chart for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.


Royalty Exchange logo The Hot Hitmakers chart is repurposed with kind permission of Royalty Exchange, the online music royalties marketplace.

Interview: Gabrielle Aplin

November 12, 2017 in Features, Interviews

Gabrielle Aplin

Gabrielle Aplin: “Giving yourself limitations, creatively, is a really good way of giving yourself a path to go down.”

The teenage internet sensation who burst onto the scene with her hit-laden 2012 debut album, returns with a new EP

Wiltshire-born singer-songwriter, Gabrielle Aplin first arrived on the scene in 2012 after building a massive fanbase by posting acoustic covers of songs on her YouTube channel. Just a year later she released her debut album English Rain, featuring her cover of The Power Of Love which soundtracked the John Lewis Christmas TV ad and reached No 1 in the UK. The album spawned a slew of Top 10 hits including Please Don’t Say You Love Me, Home, Salvation and Panic Cord, then – after an 18-month international tour – she racked up a further three No 1s worldwide.

Playing shows and going on tour all over the world had an impact on Gabrielle and fed into her 2015 sophomore album Light Up The Dark which displayed a maturing in Aplin’s sound with the anthemic singles like the title track and Sweet Nothing. She released her Miss You EP on her own label Never Fade Records in late 2016. A video of Aplin singing the lead track racked up a whopping five million views on Facebook and the EP has so far racked up an impressive 40 million streams.

The summer of 2017 saw Gabrielle Aplin return to the stage, completing a sold-out tour in Japan and performing at a number of UK festivals, before releasing the superb Waking Up Slow – the lead single from her recent EP Avalon. We caught up with Gabrielle while she was back at home, before the next phase of her stellar career kicked off…


You grew up now far from us in Chippenham, but you live in Brighton now. Do you do a lot of writing at home?

“Yeah, I live with my boyfriend who also writes songs, so we have a good collection of guitars. I like tuning my guitars to different tunings. I have a writing room as well, with my Nord and plugins and stuff, but generally I don’t really go in there unless I have something that I need to record. It’s a functional space, but it’s definitely very zen – mood lighting and incense – that’s very important to me!”

Is songwriting something you do habitually every day?

“Noodling around and coming up with things? Yeah, I just have to do it. It’s just one of those things I do. I can’t walk into my kitchen without walking past an instrument and I’ll stop and play them.”

You’re only 25 years old, but tell us about your earliest memories of songwriting?

“When I first started writing, it was more writing lyrics and then I learned an instrument. I was about 11 or 12 when I remember putting things together, but not seriously, then I started covering songs to just learn about songwriting structures and learning what I loved about them. When I was about 14 I started making my own.”

What songs do you think you learned a lot from?

“I was learning a lot of Joni Mitchell songs and a lot of the things that were in the charts as well. I was really interested in contemporary songwriting and how it changed throughout the decades. I’m a big fan of Nick Drake and Crosby, Stills & Nash, and that kind of 60s singer-songwriter, story-telling thing, but I love pop song structures that have kind of stayed the same. I was listening to The Carpenters, and a lot of that kind of stuff, but I remember being obsessed with Perfect Day by Lou Reed because it felt like three songs in one – I was really interested in the intricacy of it.”

So did you pick up an acoustic guitar first?

“It was piano first, actually. I was able to teach myself chords, but it took me a lot longer to know how the guitar was laid out. That was good, in some ways, because when you’re limited I feel you make something out of what you do have. Giving yourself limitations, creatively, is a really good way of giving yourself a path to go down. So yeah, guitar took me a little while longer, but it’s definitely my most confident writing tool. But, at the same time, I get very used to that. My home piano is difficult to write on but I can go and sit on someone else’s piano and just come up with something. So really subtle things like tone and size, and the room even, definitely changes a lot of things.”

Gabrielle Aplin

Gabrielle: “Once I realised I was able to put out my own music … I was like, ‘Okay, this is the thing that I can do now.’”

Are there any other examples of creative limitations that you’ve employed recently?

“I guess I’m more comfortable with exploring. I usually sit down at an instrument and write something as a song, and try to tell a story, but I’ve also enjoyed starting with a drum loop or a particular sound and seeing where that takes me.”

What was the turning point when you went from tinkering around with songs to becoming a fully fledged singer-songwriter?

“I was definitely writing tunes without any agenda or goal to release them or anything, I was just building up a collection of songs, I suppose. Then I met my manager, James [Barnes], and we decided to set up the label that we run, which at that time was just an entity to release my music on. I recorded them simply, with the help of a friend, and they eventually became an EP. We put out music independently and started putting tours on sale, around the UK, and it kind of grew from there. Once I realised I was able to put out my own music, independently, was the real turning point to me because I was like, ‘Okay, this is the thing that I can do now.’”

Was that something you decided to do because it was new, or had the trend of starting your own label already started by then?

“It didn’t really feel like there were loads, so it felt like we were just doing the thing that suited us best. I wasn’t trying to get a record deal – I didn’t feel I had to have ‘one thing’ to get the next point, which was to release music. I just thought, ‘Okay so I have these songs and I feel like people would want to hear them.’ I’d been putting out music online anyway, so there were people that would buy [my releases] and I want it to be heard. So I feel like it was just the next step or I could’ve just carried on writing aimlessly. Creatively, it’s always nice to get a project out, so then you can draw a line under it and start a new one.”

It was a pretty savvy decision, in hindsight.

“Yeah but I certainly wasn’t considering it as one!”

Do you still like being involved in the business side of music, or do you focus more on being an artist?

“No, I am really interested in it and so many other parts like the production, the video, the visuals and the press and marketing – I think it’s all very important and they slot together perfectly and become one big puzzle. All those different pieces are all important little cogs and I do get involved in it, and I enjoy it as well.”

In the early days of your first EPs, were you collaborating or was that more you writing on your own?

“Initially no, but I definitely met a few people that I then started to collaborate with. Not all of them ended up on those EPs, but it was really a good thing to experiment and see if I liked working with people. I wrote a lot with my friend Nick Atkinson and then he become a key part of my team, really.”

There was a big difference between English Rain and Light Up The Dark, but we noticed your sound has taken another twist and turn with your latest single, Getting Up Slow. Have you been deliberately changing things up each time, or is it simply evolving?

“I’m not trying to do anything different; I’m consciously trying to not do anything different! I think it’s very hard to go, ‘Okay, a new album, oh I need to do this, this and this…’ or ‘I need to do something like the last one because that did well.’ I don’t want to put those kinds of restrictions on myself. I write all of them in the same way, and I don’t want to rein in my production to make it fit a certain stereotype of myself as an artist at a certain point. I just do whatever I think is the most fun and what I think suits the song best, and I think they sell better that way.”

Gabrielle Aplin

Gabrielle Aplin: “I write a lot, but it’s not rigid – I like writing really early in the morning or really late at night.”

What does your regular approach to writing involve? Where do you start?

“Well, when I’m working with Nick, for example, we’ll arrange a day and time to meet up and write. That’s very different to when I’m writing on my own, when I won’t set myself a rigid timeframe – it’s not like I wake up and start writing in my studio at 10am. Sometimes you just can’t, and I live my life around it and when I’m able to do it, I just do it. I write a lot, but it’s not rigid – I like writing really early in the morning or really late at night. I just enjoy sitting around playing on instruments and singing random stuff, and I basically just do that until something sticks out – a lyric, a melody or a chord pattern, or a riff – and I think, ‘That’s nice,’ and I’ll do that again. Then I’ll start forming a song around it and then I start thinking about what the song is about and look for inspiration about what it is, how it makes me feel, what I think it could be about, and what it sounds like… Or, when I work with Nick, I usually come in with an idea, or I’ll say, ‘I really enjoyed this film I watched last night, let’s write about that,’ so it works the other way around.”

What’s it like when you go into a room with different collaborators? And do you select co-writers based on whether they fit with your songwriting process?

“I don’t really like working with too many people, like the big LA writing trips with hundreds of writers. But I will try to work with new songwriters when it comes up because I might find someone else who I really enjoy working with and start working with them regularly. So I like to keep it small and write with the same people, because I find that we get better every time. That’s why I still write with Nick; it’s because I really enjoy the process and it’s very easy.

“Sometimes I don’t enjoy the process, so I don’t enjoy the session and I don’t feel that it works for me, so I just ‘call it’ and that’s it. I don’t make it difficult for myself – I like to keep it within my team.”

Has it been any different for this latest EP, working with producer LostBoy?

“That’s another one where I’d never worked with him before, then we met and did a session together, randomly, and actually it worked really well, and I’ve been working with him since. I really enjoyed how he was more track-based and I was more topline-based, but we were both working on chords and melodies together.”

Tell us about how you wrote Getting Up Slow. We made that a Song Of The Day and loved how the structure builds.

“I’m really big fan of artists like Robyn, for example, who makes these amazing, modern electronic pop songs that sound really happy and euphoric when you listen to them, but when you strip them down to just the lyrics, melody and chords, they’re really classic songs. And I love a three-chord pop tune, but I also love an intricate moment, a really subtle key change and all those random, wonky things as well. When we’re working together [with LostBoy] there’s a musical fun to it as well as trying to write some catchy tunes.

“It kind of just flowed. It was definitely a track first that we actually wrote in one session. Then we didn’t see each other for a few months, before I went in and finish it with [LostBoy]. With the lyric, ‘getting up slow’, I honestly have no idea what it was about at the time, it was just coming out. Then I went away and had a really lovely walk up the Glastonbury Tor, and it was really early in the morning, on the way to a festival. I just didn’t have a care in the world and that’s basically what I wanted to try to get into the song, with sounds as well as lyrics.”

Is this an EP release ahead of an album? What’s the plan?

“Definitely. I’m always writing and I’m working towards a third album, but they just take so long! I’ll just be releasing EPs until my album comes out and it should hopefully be out next year. But yeah, I just didn’t want to disappear for too long.”

Interview: Aaron Slater


Gabrielle Aplin’s newest EP Avalon is out now. Find out more at gabrielleaplin.co.uk

Classic Of The Week: Tubeway Army

November 12, 2017 in News

"It's cold outside and the paint's peeling off of my walls"

“It’s cold outside, and the paint’s peeling off of my walls” Credit: Amy Hope Dermont

Our sublime autumn cover star, Gary Numan, provides a blinding slice of new wave synth-pop for this week’s frosty classic

Before he was the cover star of the autumn edition of our app, Gary Numan was part of London new wave synth-pop troupe Tubeway Army. Are ‘Friends’ Electric? was one of four singles released by the band and was easily their most successful, making it to No 1 on the UK singles chart.

It’s brooding, clinical, and worms its way insidiously into your soul; it’s classic Numan. If you’ve heard it already then this will be a welcome reminder of the song’s towering excellence. If it’s your first listen, then you’re in for a real treat.


Classic Of The Week Playlist


Elvis Costello releases single written for film

November 11, 2017 in News

Elvis Costello

Elvis Costello: “You Shouldn’t Look At Me That Way is a song dealing with two people who have a lot of secrets”

New song ‘You Shouldn’t Look At Me That Way’ was made for forthcoming movie ‘Film Stars Don’t Die In Liverpool’

London-born musician, singer-songwriter and producer Elvis Costello has released the brand new song You Shouldn’t Look At Me that Way, which he wrote, orchestrated, performed and recorded for the forthcoming movie Film Stars Don’t Die In Liverpool. Based on Peter Turner’s memoir about his relationship with eccentric Academy Award winning actress Gloria Grahame, the upcoming film stars Jamie Bell and Annette Bening.

It’s no coincidence that Costello was keen to write a song for the project as he was already intrigued by Gloria Grahame’s life story. Producers Barbara Broccoli, Colin Vaines and director Paul McGuigan caught an Elvis Costello show at the London Palladium and saw Grahame’s picture appear on the visuals during the song Church Underground.

You Shouldn’t Look At Me That Way is a song dealing with two people who have a lot of secrets,” explains Costello. “They were in a relationship and perhaps had difficulty seeing each other as they really were. All lovers have secrets. One lover has some vanity but also a lot of vulnerability. The title really came from that. It could refer to a seductive gaze but also a plea not to be judged.”

Directed by Paul Mcguigan, the film follows the playful but passionate relationship between Turner (Bell) and the eccentric actress Gloria Grahame (Bening) in 1978 Liverpool. What starts as a vibrant affair between a legendary femme fatale and her young lover quickly grows into a deeper relationship, with Turner being the person Gloria turns to for comfort.

The single is available to download now via Verve/Decca Records: Verve.lnk.to/ECYouShouldntLookAtMeThatWay

Five Finger Death Punch announces European tour and LP

November 10, 2017 in News

Five Finger Death Punch

Five Finger Death Punch give their fans an early Christmas present

LA hard-rockers release greatest hits album, ‘A Decade Of Destruction’, on 1 December and support it with a European tour

Christmas has come early for fans of the multi-platinum Los Angeles-based hard-rock band, Five Finger Death Punch. This is after it was announced that they’re releasing their greatest hits A Decade Of Destruction this December, and are supporting it with a massive European tour.

A Decade Of Destruction is released on 1 December and is available on CD, black vinyl, red vinyl, and cassette, and in a range of different bundles that feature a range of goodies.

The album features 16 tracks, including their US No 1 single, Wash It All Away.

You can see the full tracklist below:

1. Trouble
2. Gone Away
3. Lift Me Up
4. Wash It All Away
5. Bad Company
6. Under And Over It
7. Wrong Side Of Heaven
8. House Of The Rising Sun
9. I Apologize
10. The Bleeding
11. Jekyll And Hyde
12. Remember Everything
13. Coming Down
14. My Nemesis
15. Battle Born
16. Far From Home

Five Finger Death Punch are supporting the release of A Decade Of Destruction with a massive European tour.

The full dates of their tour are as follows:

November 2017
12 – St. Petersburg, Russia – A2 Arena (FFDP only)
14 – Helsinki, Finland – Hartwell Arena
16 – Gothenburg, Sweden – Scandinavium
17 – Stockholm Sweden Ericsson Globe
18 – Oslo, Norway – Spektrum
20 – Copenhagen, Denmark – Royal Arena
21 – Hamburg, Germany – Barclaycard Arena
22 – Berlin, Germany – Velodrome
24 – Oberhausen, Germany – KP Arena
26 – Prague, Czech Republic – Forum Karlin
28 – Zurich, Switzerland – Hallenstadion
29 – Munich, Germany – Olympiahalle
30 – Padova, Italy – Geox Theatre

December 2017
2 – Stuttgart, Germany – HMH Schleyerhalle
4 – Paris, France – Olympia
5 – Luxembourg, Luxembourg – Rockhal
6 – Frankfurt, Germany – Festhalle
8 – Vienna, Austria – Stadthalle
11 – Madrid, Spain – Wizink Centre
12 – Barcelona, Spain – Sant Jordi Club
14 – Antwerp, Belgium – Lotto
15 – Amsterdam, Netherlands – AFAS Live
17 – Birmingham, UK – BCA
18 – Glasgow, UK – Hydro
20 – Leeds, UK – Leeds Arena
21 – London, UK – Wembley Arena

Ashley Gorley is Country Music Awards’ Songwriter of the Year

November 8, 2017 in News

Ashley Gorley

Record-breaking Ashley Gorley takes home the prize

Ashley Gorley is named Songwriter of the Year for a record fifth time at this year’s ASCAP Country Music Awards

After another dominant year, which has seen nine of his songs among the most-performed titles of the eligibility period, Ashley Gorley collected his record-breaking fifth title at Monday night’s ASCAP County Music Awards.

Included in his hot streak were the Carrie Underwood song Dirty Laundry and Blake Shelton’s A Guy With A Girl. With his Thomas Rhett co-write Unforgettable topping Billboard’s Country Airplay chart on the same night, it really was an evening to remember for the Kentucky-born writer.

Elsewhere, Rodney Crowell was bestowed with the Founders Award, following in the footsteps of Tom Petty, Emmylou Harris, and Garth Brooks, while Kelsea Ballerini was presented with the Vanguard Award, which recognises an up-and-coming songwriter who is shaping the future of the country genre.

Other winners on the night included Dave Kuncio and Josh Mirenda (Country Music Song of the Year), Warner/ Chappell Music Publishing (Publisher of the Year) and concert promoters Varnell Enterprises (Partners In Music). There were also performances by Old Dominion, Keith Urban, and Vince Gill.

It’s a big week in the world of country, with Nashville preparing itself for tonight’s 51st CMA Awards. Hosted by Brad Paisley and Carrie Underwood, it’s another chance to celebrate those who put the music into Music City.

Planning risks Bristol music venue’s closure

November 7, 2017 in News

Thekla

Thekla. Image byColin Park

‘Woefully inadequate’ noise assessment carried out on Thekla during application for development risks the closure of Bristol’s iconic music venue

Tomorrow (Wednesday, 8 November 2017) a Bristol planning committee meets to make a decision on an application for proposed development near the city’s iconic, award-winning, music venue, Thekla, with the risk that motion in favour of development could jeopardize its future.

The development would see three derelict buildings from a residential development at Redcliffe Wharf turned into affordable homes, offices and leisure space. All sounds good.

However, while Bristol’s Pollution Control Team have noted the need to conduct a new noise survey, in order that sound from Thekla during its busy weekend, can be taken into account, the decision on the application will be made without this.

A “good developer” would carry this noise survey out prior to application for approval.

The reason for this is to establish whether the sound from surrounding venues would be likely to lead to complaints from residents, as said complaints could lead to the aforementioned venues being closed.

As Mark Davyd of The Music Venue Trust explains: “”Sensible and adequately planned residential developments near to grassroots music venues like the Thekla mean that residents and music lovers can happily co-exist.

Continuing: “That outcome starts at the planning application stage when a good developer recognises the cultural value of the existing music venue and takes steps to protect it.

Adding: “Recognising the existence of an iconic music venue like Thekla starts with a thorough environmental impact study that specifically understands the noise in the area.”

As the application has reached this stage without establishing whether any future complaints residents could be likely, it, and the proposed development is, frankly, a disgrace.

Between 2007 and 2015 it has been estimated that 35% of grassroots music venues in the UK have closed, due to similar development schemes to that which now threatens the existence of Thekla.

It is because of this that music fans are seeing a successful application for the proposed development near Thekla, as being tantamount to the venue’s death warrant being drafted by the developers and signed by the Bristol planning committee.

Songwriting stands alongside Thekla and we implore you to do the same.

As a Bristol-based publication, we know how important the iconic venue is to the residents of not just the whole of Bristol, but its surrounding areas and the artists who play there. A successful application would put the interests of these people beneath those of the developers.

That is why we suggest that you post on your social media accounts, using #SaveThekla, so that the Bristol planning committee and the development team know how damaging and reckless their actions could be.

UK & US Songwriting Charts (27 Oct-11 Nov 2017)

November 6, 2017 in News

Future aka Nayvadius Wilburn. Photo: The Come Up Show/Creative Commons

Future aka Nayvadius Wilburn. Photo: The Come Up Show/Creative Commons

After earning the highest charting collaborative album in over two years, Nayvadius Wilburn returns to our list of top songwriters

This week saw Nayvadius Wilburn’s return, closely following Taylor Swift. Wilburn, better known as Future, takes the No 9 spot with the aid of seven Billboard Hot 100 hits, all but one – Relationship – off his new collaborative album with Young Thug. The album, Super Slimey, is the highest-charting collaborative album in over two years; the last being another Future collaboration, that time with Drake.

US Songwriting Chart (11 November 2017)


RANK SONGWRITER SONG – ARTIST
1 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
2 ED SHEERAN Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Strip That Down – Liam Payne (ft. Quavo)
3 MICHAEL WILLIAMS II Unforgettable – French Montana (ft. Swae Lee)
Humble – Kendrick Lamar
Rake It Up – Yo Gotti (ft. Nicki Minaj)
4 AUSTIN POST Go Flex – Post Malone
Candy Paint – Post Malone
I Fall Apart – Post Malone
Rockstar – Post Malone (ft. 21 Savage)
Congratulations – Post Malone (ft. Quavo)
5 KHALID ROBINSON Location – Khalid
1-800-273-8255 – Logic (ft. Alessia Cara & Khalid)
Silence – Marshmello (ft. Khalid)
6 CHARLIE PUTH Attention – Charlie Puth
How Long – Charlie Puth
Bedroom Floor – Liam Payne
7 JACOB KASHER Attention – Charlie Puth
How Long – Charlie Puth
8 TAYLOR SWIFT …Ready For It? – Taylor Swift
Gorgeous – Taylor Swift
Look What You Made Me Do – Taylor Swift
9 NAYVADIUS WILBURN 4 Da Gang – Future
Feed Me Dope – Future
All Da Smoke – Future & Young Thug
No Cap – Future & Young Thug
Three – Future & Young Thug
Patek Water – Future & Young Thug (ft. Offset)
Relationship – Young Thug (ft. Future)
10 JAHSEH ONFROY Roll In Peace – Kodak Black (ft. XXXTENTACION)
Jocelyn Flores – XXXTENTACION
F**k Love – XXXTENTACION (ft. Trippie Redd)

Every track charting on the Billboard Hot 100 for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.

UK Songwriting Chart (27 October 2017)


RANK SONGWRITER SONG – ARTIST
1 ED SHEERAN A Different Way – DJ Snake (ft. Lauv)
Castle On The Hill – Ed Sheeran
Perfect – Ed Sheeran
Shape Of You – Ed Sheeran
Strip That Down – Liam Payne (ft. Quavo)
Your Song – Rita Ora
2 YXNG BANE Bestie – Yungen (ft. Yxng Bane)
Rihanna – Yxng Bane
3 KHALID ROBINSON Young Dumb & Broke – Khalid
1-800-273-8255 – Logic (ft. Alessia Cara & Khalid)
Silence – Marshmello (ft. Khalid)
4 SHAYAA ABRAHAM-JOSEPH Bank Account – 21 Savage
Rockstar – Post Malone (ft. 21 Savage)
5 MICHAEL DAPAAH Man’s Not Hot – Big Shaq
6 STEVE MAC A Different Way – DJ Snake (ft. Lauv)
Shape Of You – Ed Sheeran
Bedroom Floor – Liam Payne
Strip That Down – Liam Payne (ft. Quavo)
What About Us – Pink
Your Song – Rita Ora
7 BELCALIS ALMANZAR Bodak Yellow (Money Moves) – Cardi B
8 FRENCH MONTANA Unforgettable – French Montana (ft. Swae Lee)
Hurtin’ Me – Stefflon Don & French Montana
9 MARC KINCHEN 17 – MK
10 NATHAN FEUERSTEIN Let You Down – NF

Every track charting on the UK’s Official Singles Chart for the week is given a point value, which is then split equally among the songwriters listed for each, and then ranked in order of those totals.


Royalty Exchange logo The Hot Hitmakers chart is repurposed with kind permission of Royalty Exchange, the online music royalties marketplace.

‘The Jacksons: Legacy’ by The Jacksons with Fred Bronson (Book)

November 6, 2017 in Features, Gear

This slideshow requires JavaScript.

With over 1000 pictures contained within, this coffee table book presents the Royal Family of Pop in all their glory

The Jacksons: Legacy book coverTo coincide with the 50th anniversary of Big Boy, The Jackson 5’s debut single, comes this exhaustive pictorial history from the family archives. Over its 320 pages The Jacksons: Legacy provides a unique insight into the band behind perfect pop moments such as ABC and I Want You Back, as well as a glimpse into the life of the King of Pop himself. Adding to the visuals are written contributions from Jackie, Tito and Marlon plus anecdotes and quotations from close friends and family.

This is ideal coffee table fodder. A quick flick through will reveal the band’s incredible wardrobe, including the famous outfit Michael wore on the Ed Sullivan show in December 1969, artwork from albums and singles released all around the world, magazine covers and cartoons of the group. As a cultural study it’s incredible to see their reach and commercial awareness, whether gracing cereal packets or endorsing musical instruments.

Most appealing of all though are the moments of innocence that have been captured, such as the brothers catching up on some sleep during a tour of the UK in 1972, hanging out with Bob Marley in Jamaica in 1975 and Michael playing with a yoyo backstage in 1984.

For those interested in the band’s songwriting (as of course, we are) the written extracts document their formation as a group and their successful talent show appearances before moving onto the creation of tracks such The Love You Save and I Want You Back. The latter was created by legendary Motown writing team The Corporation who originally intended it to be called I Wanna Be Free.

Moving to Epic Records in 1975, The Jacksons would see an increased share of royalties and a bigger hand in the writing of their songs, collaborating with the writers/producers Gamble and Huff. In one passage, the label’s vice president of A&R, Bobby Colomby recalls how he took inspiration from Bohemian Rhapsody when arranging the harmonies on Blame It On The Boogie and similar titbits are scattered throughout.

As with any project covering the life of Michael Jackson it’s hard not to feel some sadness and regret. That the smiling face of the supremely talented Michael, seen running along a Malibu beach with his brothers on the book’s cover, came to such a tragic end with a permanently tainted reputation will be impossible for some to overlook. Though his death his touched upon in the epilogue, the life of the megastar continues to beg more questions than answers.

That said, The Jacksons: Legacy offers a glimpse both behind and in front of the curtain. Thrust into the limelight from such a tender age, the beloved brothers gave the world their childhood years and their talent and it’s fascinating to see it all laid out here.

Duncan Haskell


The Jacksons: Legacy is out now, published by Thames & Hudson, priced £25. Find out more at: thamesandhudson.com