Category Archives: Pop music

2011 ➤ Soprano Jenkins tops pop’s young Rich List

Katherine Jenkins , Cheryl Cole, Sunday Times Rich List, 2011

Two richest under-30s: mezzo-soprano Katherine Jenkins, 30, and moonlighting Girl Aloud Cheryl Cole, 27

❚ THE TEASE TASTERS HAVE BEGUN for this year’s Sunday Times Rich List, which publishes on May 8. Today the UK’s new pop millionaires were announced with the 30-year-old Welsh mezzo-soprano Katherine Jenkins (worth £13m – $21m) topping the richest ten, only two of whom are male. In descending order this year’s other rich kids are: Cheryl Cole, Leona Lewis and Katie Melua with £12m each; Joss Stone £9m; Charlotte Church, Craig David £8m; Paolo Nutini £7m; Adele (see video below), Lily Allen, Natasha Bedingfield, Duffy, Amy Winehouse £6m.

All these artists fall into the category of “Richest British and Irish music stars under 30”, which is of course a sideshow to the main list of music-industry big-hitters. The top ten music millionaires is always headed by boring impresarios (big leap by Simon Cowell this year), so down at No 4 Paul McCartney remains the richest performer with £495m of assets ($812m), way ahead of the other veterans Elton John £195m, Mick Jagger £190m, Sting £180m, and Keith Richards £175m — all of whom have longevity in their favour. Sudden additions to the Rich List music millionaires include Brian Johnson (£50m), the lead singer of the rock band AC/DC, and John McColgan and Moya Doherty (£70m), husband and wife co-founders of Riverdance.

Among stars from the Swinging 80s, only George Michael (£90m – $147m), Mick Hucknall and Kylie Minogue survive, with their fortunes consolidated now at £40m each.

Daniel Radcliffe,Harry Potter, Out magazine, Rich List ❏ In the separate list of the UK’s richest people aged under 30, three filmstars lead the performing arts, Daniel “Harry Potter” Radcliffe at No 4 (worth £48m – $79m), Robert “Twilight” Pattinson at No 8 (£32m), and Keira “Pirates” Knightley (£30m). Princes William and Harry limp in at No 10 with a fortune of £28m derived from land and inheritances from their mother, Diana, and the late Queen Mother. (The boys’ grannie, HM Queen Elizabeth, is herself only moderately wealthy by UK millionaire standards, sitting at No 257 in the main Rich List and valued at £300m – $491m. The richest man in Britain for the past seven years has been Lakshmi Mittal, boss of the world’s largest steel producer, whose family is today worth £17,514m – $28,677m, despite massive losses after the global financial crisis.)

➢ This Is Money lists the full Top 50 Music Millionaires for 2011 — Despite Sade’s comeback album which topped charts both sides of the Atlantic during 2010, the Essex-raised singer-songwriter, composer and producer failed to reach the top 50.

➢ The 2010 Rich List put George Michael top of the popstars from the un-lucrative 80s

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➤ When digital downloads mean lost income for stars like Eminem

THIS OPINION PIECE IN TODAY’S GUARDIAN may be weighted with legalistic argument, but it reveals the chaos that digital media — downloads and ringtones, for example — have brought upon the music industry. It also confirms the pitiful rates musicians and performers have been paid for their work in the past…

“At the centre of [recent lawsuits involving Eminem and the late Rick James] is the question of whether a download is a licence or a sale. A normal record deal today would usually give an artist 12–20% of revenue from sales depending on how successful they are at the point of signing (only the bigger artists get anything close to 20%). But if a song is licensed to be played in, say, a TV show or a film, they receive 50% of revenue. Buying a download on iTunes may make you feel like you own it, but the fact is that you’ve just bought the rights to play it. And so the court agreed that the Eminem downloads counted as licences.

“Universal argues that it was simply the wording of Eminem’s specific contract that resulted in them losing the case, and it’s true that standard contracts have changed since the advent of iTunes and now clearly state that download sales count as sales. But thousands of artists signed their deals way before iTunes. If they did so before 1980, chances are they’re on a sales royalty rate that is lower than 10% — some artists from the 60s and 70s were on 4%, minus packaging deductions — which means they can up their digital royalty rate more than tenfold.”

➢ Continue reading Why Eminem could spell major trouble for the major labels — by Helienne Lindvall in The Guardian, April 29, 2011

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➤ Morrissey detonates bidding war for his memoirs

❚ A NEAT OUTCOME RESULTED from last week’s Radio 4 interview with Morrissey, former singer with The Smiths, the UK’s leading indie band of the 80s, who broke up in 1987. After the reluctant interviewee said that he was “very very surprised to be making music today” he added that, had his music career failed, “I would have become a novelist”. He then revealed that he had written his memoirs and was in the progess of redrafting his 660-page manuscript. He dared to suggest: “I’d like it to go to Penguin, but only if they published it as a classic. I can’t see why not — a contemporary Penguin Classic — within the next year or so.”

Very Best of Morrissey,CD,download, vinyl,Radio 4, Front RowBy Good Friday Penguin Books, creators of the modern paperback, were trying to head off a bidding war between rival publishers by announcing that it is indeed willing to publish his autobiography. A spokeswoman told The Independent: “There is a natural fit between Morrissey’s sensibility, his artistic achievements and Penguin Classics. A book could be published as a Penguin Classic because it is a classic in the making. It’s something we would like to discuss with Morrissey.”

There is no minimum time limit before a book can be considered a Penguin Classic, but the list embraces people or works that have “caused scandal and political change, broken down barriers, social and sexual”. However, a leading article in the same day’s paper pours cold water on the mighty ego of the singer they call Bigmouth: “Sadly for Morrissey, it’s the accumulated judgement of posterity, rather than authors, which determines what literature survives and what gets pulped.”

Nevertheless, according to The Independent report: “Morrissey is not short of suitors. The publishing director of Faber and Faber sent the singer an open letter begging him to join the ‘house of Eliot’, a reference to T S Eliot, the giant of 20th-century poetry. Lee Brackstone wrote: ‘We feel very strongly that you belong in this company. You deserve Faber and the love we can give you. History demands it; destiny commands it’.”

These events coincide with today’s UK release of a new album, Very Best of Morrissey, a 20-track download and CD of remastered solo classics (also as 18 tracks on vinyl, EMI/Major Minor). A bonus DVD, which includes eleven remastered videos (three of which are previously unavailable on DVD) including Boxers, Sunny, and The More You Ignore Me The Closer I Get, plus I’ve Changed My Plea To Guilty taken from the Jonathan Ross TV show in December 1990.

As from tomorrow the 12-minute interview with R4’s Front Row is available on iPlayer. Morrissey deals briskly with pressing issues such as ageing (“many of the early songs were like mating calls and I have to think seriously about singing them now”), the problem of having the prime minister as a fan (“no I’ve never met him”) and, inevitably, a Smiths reunion (this is not the place for spoilers). And yes, Johnny Marr gets a mention.

Dermot O’Leary,Morrissey, interview,Very Best OfUpdate: Listen to favourably selected highlights from a frankly tiresome interview between a cranky Morrissey and a very patient Dermot O’Leary (BBC R2 on April 30, 2011) as the evasive singer winds him up while discussing their Irish roots and musical idols, a UK and Scandinavian tour, an album of new material and the “mutants” of Coronation Street. We hear two clips from his Very Best Of CD, Girl Least Likely To, and Interlude: The next day Moz told True To You why he had been so cantankerous: “I’m sorry I made the O’Leary radio interview so difficult but I was in a foul mood, having spent a full week surrounded by the royal dreading. England may very well be a Windsor dictatorship, but, PR weddings aside, it is usually quite bearable.” He also complains about his familiar views on the British monarchy being cut from the earlier R4 interview.

SUMMER TOUR DATES

➢ Listed at True-to-you.net — Morrissey’s nine-date UK summer tour runs from Perth June 15–Plymouth June 30, plus Glastonbury Festival on June 24, and Hop Farm Music Festival July 2.

DOWNLOAD YOUR OWN MORRISSEY FONT

➢ Morrissey’s handwriting free from searchfreefonts
Morrissey,handwriting , font, download

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➤ Index of posts for March

depeche mode, Remixes 2,electro-pop,

Three faces engraved by a life in rock: Depeche Mode’s Andy Fletcher, Dave Gahan and Martin Gore have between them survived depression, addiction, mental instability, attempted suicide, divorce and fatherhood

➢ 2011, Adam Ant reveals his terrifying years in purgatory

➢ Martin Kemp’s live tutorial via bass cam

➢ 2011, Clarke and Wilder pile in for Depeche Mode’s ultimate remix album

Mick Karn, Peter Murphy, Dalis Car, pop music

Mick Karn and Peter Murphy: teamed as Dalis Car in 1984

➢ Mick Karn takes a last journey in Dalis Car 2

➢ Anna’s Army — how the English-born editor of Vogue became her own global brand

➢ Crazee or crazed? David Lynch’s view of Duran’s live concert from within his hellish cave

➢ 1932–2011, Liz Taylor — Hollywood glamour to a T

➢ 2011, Despite sniffy critics, ultimately Duran’s best album since their glory years

➢ Smartphones become UK shoppers’ essentials

➢ 2011, Spandau and Duran square up for battle just like the old days

➢ Gary Kemp puts his neck on the block — Spandau ‘the best live British band of the Eighties’

➢ Haunting video catches grim carnage of the Japanese tsunami

➢ 1981, The day Duran’s fortunes really took flight — 30th anniversary of Planet Earth

➢ Kid Creole’s in pink so he’s ready for the funk

Duran Duran, 2011, All You Need Is Now, YouTube, live stream, pop music

Duran Duran earlier this year: US and European tours, plus a live concert stream. Picture courtesy duranduran.com

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➤ Martin Kemp’s live tutorial via bass cam

Martin Kemp, Spandau Ballet, Reformation tour, bass guitar, video diary, Vimeo, Fight For Ourselves, Jonny Kline
❚ SHOT ON TOUR somewhere in Europe last year for Jonny Kline’s video tour diary. Spandau Ballet’s bass player Martin Kemp clamped a camera to his guitar to grab this down-the-neck lesson in fingerwork…
➢ VIEW ♫ Kemp’s nine-minute clip recently posted at Vimeo
Somewhere in the background Tony Hadley’s unmistakable voice is giving us Fight For Ourselves. In the opening shots Steve Norman introduces the band members — and yes, that’s his saxophone trying to steal the limelight later.

Martin Kemp, Spandau Ballet, Heaven, 1980, PX

Ever the showman: Martin Kemp clad in PX at Spandau's Heaven concert, 1980, bass held high in anti-rock pose. Photographed by © Shapersofthe80s

Kemp’s instrument of choice is a British Wal bass and it’s surprising to recall that right from the start he maintained: “I learnt to play bass in order to get into the group, not because I liked music.” These days, as he grooves away onstage Martin steers his bass fondly like an old jalopy, nicely improvising and developing themes of his own, where many bassists think all they have to do is underline a thumping beat.

Back in the early 80s he said: “I hate bass players — most of them just blend in and don’t add anything. I’m a showman. Some bass lines I’ve written are really catchy: I’m proud of Lifeline because you hear people humming it, not the hookline! The essence of the Spandau sound is melody, Tony’s voice obviously, Steve’s sax lines, Gary’s top line, my bass lines. We all think in terms of melodies.”

➢ Jonny Kline’s video tour diary in Amsterdam
➢ How Roman Kemp helped his dad Martin to pick up the bass again

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