New mini-documentary about Twisted City

I've gone all 'Behind The Music' and put together a little video about the making of Twisted City. This is maybe a little self-indulgent, as I can't say Q or Mojo regularly include it in their top 100 albums of all time, but I know that there is a little band of Twisted-City lovers out there, and this video is for them. It's got commentary about the recording of the album, tracks, and photos that I haven't put online before. Plus a truckload of bad haircuts.

The video can be watched at http://www.youtube.com/embed/1l8n9RLLcdg

A mini documentary about the making of Chris Singleton's first album, 'Twisted CIty'. Features tracks from the album, commentary and a host of unseen photographs from album photoshoots (and a few bad haircuts to boot). Download the album free at http://www.chrissingletonmusic.com

Trumpets!

This video diary experiment I'm doing with the recording sessions for my new album continues...I recently had a very talented trumpeter (and recipient of a 5 star Guardian review for his most recent album) called Andre Canniere around recently, to put down some brass on a track called Anyone Can Be a Star. We tracked him about 16 times, playing exactly the same parts, and we ended up with a pretty beefy trumpet solo.

You can take a look at us recording said trumpets here: http://www.youtube.com/watch?v=1RNK0GCXq2k

Enjoy...

Recording a gospel choir - with one singer

I've been working with an excellent singer called John Gibbons now for a number of years; he's incredible. I had him round to record some backing vocals for some new tracks the other day, and as part of this whole video diary thing I'm making, I shot some footage.

As you'll see from the video below, John is a one-man gospel choir, and a great one at that.

You can take a look at http://www.youtube.com/watch?v=9cfhB5Qm3iE - enjoy.

Video diary of the recording sessions for Chris Singleton's third album. Features footage of John Gibbons putting down backing vocals on '1975' and 'Baby's in the Band'.

Videos from the new album recording sessions

A quick note to let you know that I'm starting to put together some little video clips from the recording sessions for my new album. They let you see what we're getting up to and give you a sneak preview of the new record. You can view the first of these below.

Enjoy.

Recording session for Chris Singleton's third album, featuring Zane Maertens putting down some bass lines using an old Tascam 4-track tape recorder. Watch some of the session and hear some of the music that came out of it.

The Alternative March for the Alternative

On Sunday, we stopped at some services just off the M1 where I bought a bottle of Sprite. Whilst paying for this overpriced but - due to a rather bad hangover - much needed fizzy liquid I took a quick glance at the shop's rack of Sunday papers.

Unsurprisingly, most of the front pages were covering the 'March for the Alternative', the anti-cuts protest which saw 250,000 or 500,000 people (depending on whether you believe the Police or the protest's organisers) march through Central London in protest against the very deep cuts to public services.

I was one of those protestors, and although I have a large beard at the moment, it is more by accident than design, so before you ask I am not a hippy, a trade union member, a communist, an anarchist or even in Red Ed's Labour Party. I will possibly own up to being a beardy weirdy, circa 1969-71, but that's probably more to do with taste in music than politics and the look I'm going for with my next record. Mainly I was there because like a lot of dudes, bearded or no, I'm quite fond of British public services.

Anyway, enough of the beard stuff. Where was I? Oh yes, in a service station, bottle of Sprite in hand, hungover and looking at examples of fine British journalism. I was expecting the papers to cover the march in a negative light - but I really wasn't expecting there to be quite such a disparity between what actually happened on Saturday and what was being reported. I and the other 249,999 or so peaceful protestors might as well have been on another march, on another planet; certainly not at the event that was being written about on the front pages of virtually every one of the respectable British newspapers I was looking at (if that's a correct way of describing them; last time I looked most British newspapers seemed to be owned by foreign, rich, eccentric tycoons, but that's another day's moan).

The event that the press was portraying was one of anarchy; violence; chaos; war. Yes, there was some violence, for which 149 people were charged. That is, on the Police figures, 0.06% of the total turnout, or, based on the organisers' figures, 0.03%. Either way it would appear that 99.94% to 99.97% of those protesting were not charged with any wrong-doing or violence. It was an overwhelmingly peaceful protest, and all of us aforementioned peaceful people were angry  - in a peaceful way of course - that some idiots had disturbed our, well, peacefulness.

Maybe it was too much to expect that a paper of record, The Sunday Times, might make more of the fact that hundreds of thousands of British people from all walks of life came out to protest against their own government than that a profoundly small minority caused violence. Or that so-called 'quality broadsheets' would focus exclusively on 'carnage', 'battles', 'chaos', 'violence' and accompany these lurid descriptions with pictures of an unruly but entirely unrepresentative mob. What was being reported was not the 'March for the Alternative', but some weird 'Alternative March for the Alternative', completely at odds with reality.

But whilst I was irritated by most of the coverage, one front page actually made me feel genuinely sad. The Sunday Telegraph had a huge picture of a policeman being attacked by some guy with a stick, accompanied by the headline 'Britain's Face of Hatred'.  

This picture and headline instantly and deeply undermined up to half a million people, from all sections of British society, from all age groups and from all backgrounds, who had come together and marched not out of hatred but in support of an idea that is arguably the polar opposite of hatred: the idea that we are, to coin a phrase, 'all in this together'; that public services matter; that they transform lives for the better; and that they should not be slated, sacrificed and privatised because of the huge greed of the banking sector. Even if we who were marching in support of public services are profoundly misguided, and the controversial austerity measures are going to eventually solve all of Britain's economic problems, we were not remotely marching out of hate; we genuinely believe that public services are a force for good that make lives better for millions - and that every step should be taken to protect them and fund them properly. Idealistic, perhaps, but not hateful.  

The Sunday Telegraph's front page will have been seen by countless other hungover guys in motorway services all across Britain. Or people popping to the corner shop for a pint of milk. And for millions this in-your-face, out-of-context image will give a lasting impression that the March for the Alternative was a march for hatred. But it's not how the event was, or what it was about. 

I took another snap of the 'March for the Alternative'. It's unlikely to be seen on the front page of a newspaper; it will probably go no further than the little band of devoted and perhaps unfortunate readers who read my scribblings. But it's a picture which tells the story of the day in a much more honest way, and shows what it was about. You can take a look below.

The Long Tail

This year my holiday reading list wasn't very long - I was too busy on the beach trying to follow the UK election on my phone (a sign of the times, eh). Nonetheless I did get to read one book: 'The Long Tail' by Chris Anderson.

In this fascinating tome, Anderson highlights how in this new-fangled age of e-commerce, online retailers are actually making more money out of selling lots of individual niche products than they are from selling hits. The classic example given in the book is Amazon: in a given week they may sell thousands of copies of a particular Coldplay album, but during the same time they will sell far more albums by a variety of less-well known artists.

This creates the 'long tail effect', which is illustrated in the diagram below. On the left hand side of the graph you see the million-selling acts, seemingly way more popular than everybody else. On the right hand side you see the 'long tail' of all the other less popular niche artists that don’t sell as many copies of their albums. But because digital distribution has allowed literally anybody to sell albums online, there are now so many niche products available for sale that the tail goes on and on and on…until all the products that sell one or two copies a year actually generate more profit, when considered together, than the hits that might sell millions in a year. The little guys actually pack more of a sales punch.



This is great, obviously, for Amazon and other online retailers - all they have to do is stock as much stuff as possible. But what are the implications for all the niche artists - like yours truly? Well, to be honest, I don’t think the long tail effect helps niche artists that much in strict retailing terms. The best application of 'the tail' for generating music sales is probably to make as much of your music as possible available to buy – somebody’s going to want to buy that alternative nu-metal-emo-dance remix you did of some crappy B-side, so why not let them (the downside though is that putting ropey content out there may not be great for your artistic integrity or image).

However, what may help musicians a bit more is another long tail effect: the long tail of media. If you look again at the chart above, and this time think of the left-hand side of the graph as containing the big publications – national newspapers and magazines – and the right hand side of the chart as containing the bloggers (or online content creators), it becomes clear that the bloggers actually have a bigger readership than the traditional media. A country may have 10 national broadsheets, which will be read by millions of people a day, but millions of people in that country will be creating content on blogs or social networks every day which is read by 10 or more people a day.

Needless to say it’s fantastic for bands if they can get into conventional print publications – as this is brilliant for profile and will no doubt also influence what bloggers are writing about – but it’s bloody hard. In the absence of success in that area, the long tail of media points to an alternative strategy for musicians who need exposure. This is to convince a critical mass of bloggers and other content creators to advocate their music. This is not by any means an easy process – it requires a lot of targeted approaches, and a lot of email-writing, but if done properly, at least it offers some exposure instead of none. The digital revolution has created a situation whereby decent bands who had no hope of getting national press can now at least get their music written about and crucially, heard by a potentially large audience.

Of course, this probably fuels the creation of demand for niche music - and helps Amazon sell more of it. So perhaps the biggest lesson of all this is that if you're in a band you should probably give up now and go work for Amazon!

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Pink Floyd put their foot down

I love Pink Floyd. My favourite album of all time is their masterpiece, Dark Side of the Moon. It is a stunning piece of work. And now, thanks to a legal victory by the band over their record company, EMI, I’m not going to be able to download individual tracks from it (or indeed any other Pink Floyd album).

Pink Floyd started this legal fight in order to “preserve the artistic integrity of the albums”. In their view, this artistic integrity would have been fundamentally undermined had listeners been able to listen to tracks out of context from the original albums by downloading them individually.

Now, I sort of understand this reasoning. The album format is a wonderful thing, and Pink Floyd have some wonderful albums, where each track is a component part of a whole; tells part of a story; segues ingeniously into another song; and so on. When it works, it works beautifully, and it makes for a great listening experience where the album, in its entirety, really is the piece of art and the songs are the component parts. So to a degree, I buy the argument that by allowing users to pick and choose tracks to download, the album gets lost or forgotten about. Which, when this happens, is of course a great shame.

However, I still think this is a bad move by the band, mainly because it will serve to significantly reduce the reach of their music – and the likelihood of people hearing their albums (and enjoying the aforementioned artistic integrity) in the first place. My bet is that a 16-year-old who is curious about and new to Pink Floyd might take a punt on a track or two if they were downloadable from iTunes – but is far less likely to take the plunge and buy a whole album without sampling their music first. Thinking back to the way I got into Pink Floyd as a youngster, it was entirely the result of hearing individual tracks out of context from the albums: I’d go round to mates’ houses where I’d hear mix tapes featuring Pink Floyd songs that were plonked alongside an eclectic mix of other stuff. I would never have bought a copy of Dark Side of the Moon at all had it not been for those random encounters with Money or Time sitting uneasily next to Kinky Afro on an old cassette.

But regardless of whether the band’s legal win reduces the reach of their music, it leaves Pink Floyd in a position where they are odds with reality: legally they can control how people listen to their music, but in a practical sense, they can’t. This isn’t just about the MP3 era: since the cassette came along and home-taping took off in the 70s, listeners have had lot of control over how to listen to songs – in context, out of context, legally, illegally, whatever. Then the CD player arrived, and with it the ability to program song sequences or just hit ‘skip’ to rush past fillers on albums or hear good songs again. And if we’re honest about it, even the good old vinyl LP let you do that anyway, if you were prepared to physically look for the gaps in the grooves and slap the needle down on the song you wanted to hear. I certainly remember doing that when it came to some of the less-interesting Pink Floyd albums.

The download age has only reinforced this level of control: people may be forced to download Pink Floyd albums in their entirety now, but they will be downloading them onto technology which actively encourages out-of-context listening. Shuffle modes and playlist creation in my view, render the whole idea of artists prescribing how people should hear their music completely redundant. As an artist myself I’m not entirely comfortable with that, but it is a fact, and no amount of litigation can prevent this new-found listener control.

For me, however, the most persuasive argument against the ‘you-must-listen-to-our-albums-in-their-entirety stance’ comes from Pink Floyd themselves: if they are so insistent that every song must be heard in context, then why did they release no fewer than six compilation albums containing a mix of tracks taken from a whole bunch of different albums (some, like Money, even re-recorded especially for one compilation)?

If you don’t eat your meat, you can’t have your pudding.

McCartney live in London

The poster for the O2 gig at LondonLike a lot of musicians, I doubt I'd have picked up a guitar if I hadn't heard the Beatles' music as a child. Additionally, I probably wouldn't have got on a plane to London to pursue the rock and roll dream, and I certainly wouldn't have paid a whopping £150 in a recession for a bad seat at London's O2 to see Macca play.

But of couse I did hear the Beatles as a kid; I fell in love with music; I moved to London; and I'm now £150 worse off.

Now, being a songwriter myself, I don't like to review other people's albums or gigs. I've been at both ends of reviews, good and bad, so I avoid taking on the role of a rock critic wherever possible - except to say bad things about James Blunt whenever I get the opportunity (he really is awful).

That said, I know a lot of readers of this blog are Beatles fans, and since I was quite vocal in mentioning that I had tickets to this show, I thought I'd share my thoughts with you on how the gig went.

Although many of you probably regard Paul McCartney to be a living legend (myself included), I am a moany old boot and I'll start with the negatives.

For me, there were two problems with the show. One was more of an annoyance than a serious flaw: Macca's choice of 'Wonderful Christmastime' as one of the numbers. Now, I know it's the festive season etc., but this is a truly appalling song. My £150 ticket meant that I was paying roughly £1 per minute to see Macca play, and by this reckoning I need a fiver back for this monstrosity. How much nicer it would have been if he'd played Lennon's 'War is Over' - a genuinely fantastic Christmas track. This would have been a far better tribute than the Lennon song he did play, 'Give Peace a Chance'. Not one of my favourites; I'll have £2.50 back for that one too please Paul. (Incidentally - and very amusingly - Macca didn't give peace much of a chance, hitting us with 'Live and Let Die', complete with lots of explosive pyrotechnics, shortly after this Lennon tribute.)

My second problem with the show was a bigger one: the lack of real musicians to perform any of the string or brass parts in the songs. According to the souvenir programme, McCartney likes to keep his live arrangements of his songs very close to those on the records. For this gig, this statement was largely true - certainly with regard to the guitar parts and harmonies - but the fact that every string or brass part was coming off a keyboard cheapened things massively for me. I might have been able to live with this had the keyboard sounds been better - these days you can get stunningly realistic samples - but some of the strings sounded very ropey indeed, particularly on 'The Long and Winding Road'. I've got better string sounds on some of my keyboards.

(Whilst on the subject of 'The Long and Winding Road' and strings, it was interesting to hear McCartney use the string arrangement that Phil Spector laid down on the recorded version of this track. McCartney regularly pops up to slate Spector for his production of this song, but he didn't seem to have a problem with staying faithful to it at the gig - albeit using a string patch on a keyboard that sounded straight out of the eighties).

As a gigging musician I know how expensive it can be to pay musicians to play your music at live shows - but we're talking McCartney here: he has a bob or two. And since the arrangements on Beatles / McCartney tracks are so good, it was a real pity not to hear them performed by even a few real musicians. In fact, when he did bring on some additional musicians - a hell of a lot of bagpipers for 'Mull of Kintyre' - it transformed this middle-of-the-road effort into something quite special. It highlighted that the presence of a few more real musicians was the only thing really missing from the gig; all Macca needed was a string quartet and a small brass section to make this a perfect show.

And, the above quibbles aside, it was show that was fairly close to perfect. No other living musician has such an incredible back catalogue to draw on, and we were just bombarded with one great song after the other. And I'm not just talking Beatles tracks here: although McCartney's solo work is often maligned, tracks like 'Jet', 'Live and Let Die', 'Band on the Run' and 'Mrs Vandebilt' (a personal favourite of mine) highlight how he most definitely didn't lose all his songwriting powers the day he left the Beatles. He might have lost a lot of his cool, but those 4 tracks represent classic, timeless pop, and they were performed to perfection at the gig. McCartney's voice sounded fantastic on pretty much everything; the singing would have been incredible for a 27-year old, never mind a 67 year-old.

Another big highlight for me was his rendition of Harrison's 'Something', which he started off on a ukelale, only to bring the whole band in at the middle 8 - it sounded epic. His words about Lennon before 'Here Today' (a song he wrote for and about Lennon shortly after his murder) were genuinely moving, as was the song. The 'Fireman' side-project stuff he did, not a lot of which I'd heard before, sounded good too. And of course we had one Beatles song after the other, with the gig finishing appropriately enough with the magnificent 'The End'. You can't really complain about that.

Despite my being a massive Beatles fan, this was the first time I'd seen McCartney play, and despite 'Wonderful Christmastime' and the ropey keyboard sounds, I'm incredibly glad I shelled out that £150 for a ticket. Although if I ever do get the chance to meet him in person, I will ask for £7.50 back and quiz him about Phil Spector and that string arrangement.

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Why I'm not betting on a Tory win

For quite a while now the media has been doing a good job of convincing us all that the Tories are on their way back to power. Be it in The Guardian or The Daily Mail, David Cameron has for the past year or so been consistently portrayed as the next PM, and the assumption that the Conservatives will win the next election is now firmly embedded in political journalism.

It’s easy to understand why political commentators are taking a ‘Tories-will-win’ line: Brown is a jaded, unpopular prime minister who presides over an uninspiring administration – an administration which has been finding it hard to appeal to Labour supporters, never mind floating voters. And the Tories have been ahead in the polls for ages.

In strictly democratic terms, the Tories will not win the next election. They will get around 36% to 42% of the vote, with the majority of the country voting the way it always does – for centre-left parties (Labour and the Lib Dems). But under the UK’s antiquated and grossly unfair electoral system, first-past-the-post – which rewards parties that win a minority of the vote with a majority of seats in parliament – a 40% chunk of the vote could still result in the Tories getting back into power.

However, I’m increasingly of the opinion that the Tories may not win a majority in parliament. Instead, I think that a lot of indicators are increasingly pointing to a hung parliament (where no party has overall control).

There are four main reasons why I think the Tories are unlikely to win a majority of seats in the House of Commons at the next election:

1) The Tories have a seriously big hill to climb to reach a majority

The Conservatives need to win 117 seats in the next election to gain an overall majority of one, and 140 seats to win a 'working majority'. This will require at least a swing of 6.9% to the Tories – the biggest swing in 60 years, according to BBC journalist Michael Crick. And I’m not sure that Cameron (a multi-millionaire ex-member of the Bullingdon Club) has sufficient populist appeal to pull that kind of swing off.

2) It’s harder than ever before to secure an overall majority in the House of Commons

As Michael Crick also points out, the number of MPs elected who are not Tory or Labour but “others” (Lib Dems, Democratic Unionists, Respect etc.) has grown massively over the years – from 7 MPs in 1959 to 100 MPs in 2005. The main effect of this has been to create a ‘balance of power’ block in parliament and make it harder for any party (and particularly for the Tories) to win an overall majority of seats in the House of Commons.

3) Constituency boundaries favour Labour over the Tories

According to the UK Polling Report, the way that constituency boundaries are currently defined means that there is an “in-built bias” for Labour in the electoral system that will frustrate the Tories’ attempts to secure a majority in the House of Commons. A combination of out-of-date boundaries, over-representation of Wales and other oddities means that Labour will automatically win “more seats per votes cast” than the Conservatives.

4) The polls are narrowing, and the economy may be improving

Largely because of the above factors, in order to win an overall majority, the Tories need to poll significantly higher than Labour in an election – 12% more, according to Professor Michael Thrasher from Plymouth University. Six months ago, opinion polls suggested that this was not an implausible scenario – many polls had Labour 20% behind the Tories. But today’s Observer poll has Labour on 31% and the Tories only 6 points ahead at 37%. And Labour’s decent bye-election win in Glasgow North East also points to a possible shoring up of their support.

This improvement in Labour's electoral fortunes and its standing in the polls may be to do with perceived improvements in economic circumstances; and if the state of the economy does improve significantly before the election (as many are now suggesting will happen), it may give Brown a boost which further narrows the Tories' lead to a point where they cannot achieve an overall majority.

The next election could be the most fascinating in years. But what happens after it could be even more interesting: a hung parliament might finally lead to the introduction of a fair voting system - Proportional Representation - if the Lib Dems end up being kingmakers and demand it as part of a deal for propping up Labour or the Tories.

My betting career only goes as far as putting £2 on a horse that didn't win the Grand National - but next May or June I might throw a few bob after a hung parliament. And I'll definitely be staying up all night to watch the election.

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Charity gig on Friday 16 October

Just wanted to let you know that I'm doing an acoustic gig for charity in London on Friday 16 October at the Getty Images Gallery, which is just beside Oxford Circus.


It's to support my mate and top bloke Thomas Rigby, who is raising money for two charities: the Bobby Moore Fund for Cancer Research UK (bowel cancer research) and Article 25, a development / disaster relief charity.

If you would like to come, just email mailto:%20info@chrissingleton.co.uk and I will sort you out with a ticket. They cost £20 but the drinks are complimentary. Should be a good night, and it'd be great to get your support.

Venue details are here: http://www.gettyimagesgallery.com/.

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Mastering the album at Abbey Road

Well the album is finally done now.

The final bit of the recording process involved a trip to Abbey Road to master the record. Mastering basically means putting the album through a very fancy equaliser, then compressing and limiting the record to beef up the sound.

The mastering equaliser we used at Abbey Road was an old EMI-designed piece of kit from the 70s; despite advances in recording equipment, these EMI mastering consoles remain incredibly popular with artists and producers (due to the way that they give records a more warm, 'analogue' sound) - so Abbey Road haven't got rid of them.

I was very lucky to have a chap called Steve Rooke master the album. He's done a lot of very impressive stuff in the past, but his recent big project was doing the Beatles remasters. I had great fun during our lunchbreak hearing how he went about it. Steve's a really nice chap - not to mention an extremely experienced mastering engineer - and working with him was both a pleasure and a privilege.

I took some shots on the day which I thought I'd post up here - a photo diary of sorts. Hope they're of interest.

The tube station at St John's Wood, the nearest station to Abbey Road. It's got a very funky staircase and lamps.


As I walked down from the tube to Abbey Road, I encountered something very odd, and which looked like it could have come straight out of a Sgt. Pepper-era promo film: a bunch of impressive-looking dudes on horses.

In Abbey Road they have tape machines like this just lying around the place in the corridors. I was drooling over this one. I'm surprised they don't get nicked more often.

This was the mastering equipment that the record went through. It dates from the 70s but people love the 'warm' sound it produces so much that they continue to use it in Abbey Road to this day...albeit hooked up to computers. You can "see" two of my new songs on the computer screen.

And here's yours truly in the mastering suite. I look like death, due to having been up all night putting the final touches to the mixes. A lot of coffee was needed during the session. Excuse my dishevelled appearance.

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What's Rupert up to?

There's a bit of a buzz going round the newspaper industry right now which involves, rather predictably, Rupert Murdoch. He's been intimating a lot of late that free online news content might soon become a thing of the past, at least where his News International titles are concerned.

Well, good luck to him. Rupert may have been pretty shrewd with regard to his business dealings in the past - and this is possibly why the press are taking this idea seriously - but in the long run, I can't possibly see this idea of paying for news content working. Here's why:

Firstly, the internet doesn't respect copy protection. Once one person has content, countless other people do, because copying and distributing a file is insanely easy. There has been much energy expounded and cash spent by record companies to copy-protect their content - and all in vain: getting free albums is easier than ever (legally or illegally). There is nothing to suggest that the newspaper industry would be any more successful in putting a wall around text, which from a technical viewpoint is even easier to copy than music.

The second reason that copy-protecting newspapers will not work has to do with something that - somewhat ironically - Murdoch is very fond of: competition. Even if he finds a viable way to protect his content, where will that leave him? Competing against a bunch of other news organisations that are all offering their content for free. He's partly aware of this, which is why his titles are attacking the BBC so much for publishing free news content...but even if the Beeb was forced to remove or scale back its online news (not entirely unthinkable if the Tories get in next year), there would still be thousands of alternatives delivering quality, free, online news output. And that's before you even consider the blogosphere, an increasingly trusted source of news and comment (if all the big newspapers were to put their content behind a wall, bloggers would have a field day).

Before charging for his content, Murdoch would do well to check out a book called 'Free: The Future of a Radical Price' by Chris Anderson. In it Anderson shows how companies are increasingly using the power of free services or content to access new markets and generate profit. The classic example he cites is Ryanair: it gives its flights away for free in order to sell a bunch of other stuff: car hire, travel insurance, accommodation, train tickets, bus tickets, scratch cards, credit cards...the list is endless. But to date it has worked, albeit at the expense of horrible flights for its customers. And the reason that it has worked is that in truth Ryanair is not actually an airline but a provider of travel services (and anything else it can flog). The free flight is the turnkey that unlocks other - and very big - markets for the company.

And digitally, the power of free content is even more pronounced. Because of its cost-free, copy-and-paste nature, digital technology effectively creates unlimited supply. And as any economist knows, when there's unlimited supply, the price of what's being supplied will drop to zero; it cannot but become free.

Murdoch - and any other digital content provider - can try to fight this; but it's a losing battle. Whether you're a rock band, a filmmaker or a journalist, you simply have to face the fact that the internet is going to make your content available for free, whether you like it or not. Content creators have a choice: to restrict content, and put themselves at a massive disadvantage, or to think creatively as to how they can unleash the power of free content and distribution. It amazes me that somebody as savvy as Murdoch isn't aware of this, and it makes me wonder if there is some ulterior motive behind his floating of his idea of charging for content. It'll be interesting to see how it pans out.

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Remembering the Roses

As the song goes, it was twenty years ago today, that Sgt Pepper taught the band - oh hang on, wrong album. Sorry. It was twenty years ago this month that The Stone Roses released their self-titled debut; and about thirteen years ago since I heard it for the first time. I was wandering fairly aimlessly around Clontarf in Dublin (worked up, if I recall correctly, about a girl who wasn't paying me sufficient attention) and I had a copy of the album, on cassette, in my cheapo walkman.

Despite the poor quality of my headphones (big fluorescent orange foam objects that I'd bought from a pound shop), as soon as I hit play, I knew the record was going to become the perfect soundtrack to that moment - and to that time in my life in general. Apologies for waxing lyrical here, but listening to it was like being let out of school early on a blisteringly hot summer's day; a first kiss; sagging off for a cheeky pint when you know you should be doing something officious. (See, I told you I was about to wax lyrical).

More simply put, it was a beautiful record. When it came out in 1989, its stunning melodies, jangly guitars, backwards tracks and close vocal harmonies must have represented an oasis (no pun intended) in the desert that was 1980s music. It was a return to decent record-making, and marked the advent of a 90s music scene - Britpop - which, whilst having a silly name, nonetheless brought with it better songs and hairdos than had been seen in a very long time.

And speaking of an oasis, The Stone Roses really set the tone for the 90s. The band that went on to dominate the decade, Oasis, were frequently likened to the Beatles - but any Stone Roses fan knew that in many respects, it was actually the Roses that were being ripped off - their look and Ian Brown's performance style in particular.

Oasis went on to outsell the Roses and become something of a national institution that the Roses never really were; but one thing Oasis never had, in my view, was the sense of mythology that surrounded the Roses. A lot of the great albums / bands are draped in this sense of mythology - to think of the classic Beatles, Pink Floyd or Velvet Underground albums is to immediately call to mind a tapestry of images, characters and stories that becomes interwoven and infused with the music itself and adds a sense of magic to it. It's a mythology that I think Oasis have strived for and tried to manufacture - watch that DVD about the making of their last album for a prime example of this - but have never been completely successful with. In contrast, The Stone Roses were a band that had this mystique / mythology in spades: Ian Brown's sullen stage act and almost whispered vocals; John Squire's Jackson Pollock-inspired artwork; lyrics that made dark and mysterious references to Christian myths.

"The Stone Roses" was the perfect name for the band and their first album; the juxtaposition of the hard and the soft in the title summed up the music perfectly. Their debut album was full of sunny music but also dark and enigmatic themes: when you pause to consider the lyrics of Made of Stone, for example, you realise that lurking underneath its gorgeous melody is a fantasy of killing off a lover.

20 years on, The Stone Roses is a record which still stands the test of time; it's regularly voted one of the top albums of all time in those polls that music magazines seem to feel the need to do every six months. It continues to inspire bands like Kasabian, Doves and Elbow. My own songwriting still references them a bit too (although not as much as when I was a teenager - you should have heard how ridiculous my efforts to copy Ian Brown's vocal style sounded).

It's a beautifully sunny day today, and I think I'm going to try to find the time to find a contraption, without big orange foam headphones, that will let me walk around the place listening to this album. Different city this time, but, for 40 minutes or so, probably the same feelings.

If you've got memories of the first time you heard The Stone Roses, I'd love to hear them - so do leave a comment. Cheers!


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We're closing in...

At the end of my road there is a bus stop. For ages it had a poster slapped on the side of it which featured a rather rotund woman on it. Accompanying this image were the words 'We're closing in' and an encouragement for members of the public to dob in benefit cheats. Helpfully a hotline was provided for said dobbing-in purposes.

Now, forgive me if I'm wrong but it looked suspiciously like the woman on the poster in question was yes, poor, and dear me, coming out of a house on a council estate. Ah, I get it now - the people who are ripping off the system are without exception poor and they live in council estates.

I never liked this campaign, because at the same time that I was encountering these posters, I seemed to be reading more and more about this little thing called the credit crunch, caused by insanely wealthy bankers, who flagrantly abused the system to the point where it collapsed and had to be bailed out by the taxpayer - and there was a distinct lack of posters critical of them.

It all seemed pretty hypocritical to me then, but it seems incredibly hypocritical now. The expenses scandal has highlighted that the political class which organised this campaign and paid for it with, yes, taxpayers' money were, dear me, benefit thieves themselves.

(Incidentally I don't know why I'm saying 'dear me' a lot - perhaps I have had a pint too many and I'm overdoing the incredulity. Apologies.)

Right, so now that it has become clear that the money that I thought I was paying in tax to fund, you know, things like schools and hospitals is also bankrolling duck islands, moat-cleaning, property 'flipping', taxi-rides to Celtic games, capital gains tax avoidance, gardening costs, porno films, porticos, helipads, nappies and plasma TVs, I fully expect my bus shelter to feature a publicly-funded poster of my local MP looking shifty and being closed in on. And I don't want them to forget the hotline either.

The charts they are a-changing

 

Traditionally, music charts have been all about music sales. You sell records, you get in the charts.

The UK (and other) charts have undergone a number of changes over the past few years. As physical cd sales declined, the chart rules were modified so that MP3 sales on iTunes and other digital retailers were taken into account. This led to some interesting effects: popular album tracks started entering the single charts; and obscure songs that had not been released as physical singles started to make surprise appearances, due to positive word of mouth and "grassroots" followings of underground acts.

The charts may be about to undergo another profound change. This is because I think that conventional sales - upon which charts are built - are on the way out. It seems increasingly likely (thanks to services such as Spotify) that people soon won't buy MP3s or cds any more, but will stream whatever songs they like over the internet (either on a subscription basis or by agreeing to hear adverts between tracks).

If this happens, the focus of charts is inevitably going to switch away from sales to the number of plays of particular songs. To a certain extent, this is already happening. The music social network Last FM currently tracks what its users are playing (see http://www.last.fm/charts for what's currently hot) and Spotify also shows you how popular tracks are as you play them.

In many ways, this emphasis on how many times songs are played is a more accurate reflection of the popularity of music than music sales. After all, a lot of people may buy a track - say, a novelty or charity single like Mr Blobby - only to rarely play it. Equally, a great album, released by an independent artist, may not sell many copies but get repeated plays by a dedicated, small following.

Interestingly, what all this raises is the possibility that some sort of 'song quality' indicator may emerge - something that goes beyond telling us how many people own a song, and lets us know how many people actually like a song. We could arrive at this indicator by dividing the number of plays of a track by the number of people playing it; for example, if 10 unique Spotify users play a song 100 times, you could give the song a popularity rating of 10 (100 divided by 10). But if the same 10 users played another song 1000 times, that track would have a popularity rating of 100 (1000 divided by 10). Crude example, but you get the drift.

Listening to music has traditionally been viewed as an intensely subjective experience, but what examples like the above point to is that maybe beauty does not entirely lie in the eye of the beholder. Perhaps certain songs have intrinsically good qualities that charts have not, hitherto, been able to highlight accurately. Online data could change all that, and start to highlight the fact that some songs have inherent and enduring appeal.

As with so many other things right now, the internet is allowing us to measure our behaviour in entirely new ways - and leading us to make remarkable conclusions about things. I wasn't really expecting the net to tell me how well-written a song is; but it's now looking like a distinct possibility. To conclude, the internet will become a rock critic.

Crikey.

The 3-D internet

There's been a lot of talk about Google Streetview of late (the UK version of which launched recently). Most of it has been about privacy issues. The press focussed on the fact that people were likely to get caught out (or perhaps burgled) as a result of that black car with the Googlecam on top doing the rounds. Love affairs blown. Joints cased. Dudes walking into sex shops in Soho being highly embarrassed.

Well, perhaps that may be so. But the real story is far more interesting.

What Streetview does is give us a hint of the way that the internet is going: 3-D. With Streetview, you can walk down a street, take a left turn, swing around, cross the road, have a look at something that catches your eye - all rendered beautifully. It's extraordinary.

If I may be so bold as to make a prediction, I reckon what will happen next is that certain businesses will allow users to 'go into' buildings - to click on them and be taken inside. At the moment, using Streetview, you can just 'stand' outside say, WH Smiths at Kings Cross. But in time I reckon you'll be able to click on it, go in, stroll down an aisle and order some books. Or click on a Domino's Pizza, have a bit of a stroll around and order, well, a pizza. Go into a HMV and buy a record. Walk sheepishly into the aforementioned shop in Soho and order something for the weekend. Or perhaps you might do something slightly more cultural and explore the exhibits of the Tate Modern - yes, you might one day be able to look at a urinal and a pile of bricks in an entirely new way altogether, and from the comfort of your own home.

If this comes to pass, we're going to be looking at a 3-D internet, where sites are no longer flat pages but virtual places to be explored (and most likely, shopped in). In fact, some of this has already been happening to a degree: the Second Life community is a 3-D online world which can be explored in the manner I'm describing. And people spend millions in its virtual shops. But so far, its userbase is still only a small percentage of internet users.

A more 'general' shift to 3-D seems like the logical next step for the net - where the 3-D, virtual world becomes the default browsing experience. Websites are still, generally speaking, flat pages with text and images on them, but the creation of Streetview gives us a glimpse of an internet which is really more of a virtual world; where websites could be housed within virtual buildings; where a chatroom is a virtual bar.

And technology being what it is, all this could get very sophisticated, and fast. Virtual reality isn't just about a visual experience; there are a host of devices - from headphones to helmets to 'wired' gloves - which all serve to make the virtual experience more physical. If the internet goes 3-D, computers get very fast, and physical devices are made available that let everybody 'touch' the virtual world, we are suddenly in the realm of science fiction: the holodeck from Star Trek's Next Generation.

Captain Picard aside, in the not too distant future, the internet could well morph into a virtual world that is indistinguishable from our own. It sounds far fetched, but so did the motor car, electricity and a mouse that grew a human ear on its back.

So bizarrely Google Streetview raises an existential question. If the internet goes down this route, it will become a man-made universe, perhaps one day turning into a digital dimension running in parallel to - and feeling just as 'real' as - our own. This points to the obvious: is 'real' life actually just a digital, virtual experience? After all, pretty much all life in our 'real' universe works like a computer program, built by a set of coded instructions in our DNA. And (okay, paraphrasing a bit here) physics is basically all about electricity and numbers - just like the internet.

Damn, it's The Matrix. A Keanu Reeves film explaining the meaning of life. What an annoying conclusion to have to come to. But perhaps not as weird as you might think.

Special guests at the Troubadour show

Hello all,

Would just like to draw your attention to the special guests at the Troubadour show.

They are the fantastic Silverfall and John Gibbons.

Silverfall are racking up great reviews and some nice airplay too. Their musical influences encompass David Bowie, Coldplay, RufusWainwright, Jewel and others too numerous to mention; you can check out their melodic acoustic sound at http://www.silverfall.info/.

John Gibbons - who will also be doing vocals during my set - has one of the most soulful voices I've ever encountered. He regularly gigs with the likes of The Killers, Razorlight and Cat Stevens and I'm really delighted he's doing a set for me. You can check him -and his multiple influences out at http://profile.myspace.com/index.cfm?fuseaction=user.viewProfile&friendID=53284211.

Look forward to seeing you there.