Hey Music Mag - Issue 1 - August 2018 by Hey Music

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UK’S HOTTEST RISING SINGER-SONGWRITER HOLLAPHONIC’S GLOBAL TAKE OVER A.R RAHMAN THE MOZART OF MADRAS PETER EDWARDS THE JAZZ STAR LMYW HITS LONDON

LAUNCH ISSUE

EDITOR’S NOTE PUBLISHER

Welcome to the first edition of Hey Mag! Aimed at music lovers and music makers, of all genres, we will be tapping into the latest music and pop culture trends from around the world, including news, reviews and interviews with artists and emerging talent.

Hey Music

EDITOR Aasha Bodhani aasha@heymusic.com

MARKETING DIRECTOR Darren Haynes darren@heymusic.com

CONTRIBUTORS Aiez Mirza Ahmed

For our first issue, we speak to RAYE, who is conquering the pop world, with hit after hit infused with a blend of Afrobeat and soul sounds, she is making her mark this year. Hey Mag finds out how RAYE has become an accomplished songwriter and singer and how she is using her Ghanaian roots to create change in today’s music scene.

aiez@heymusic.com Daniella Millership daniella@heymusic.com Sophia Nyananyo sophia@heymusic.com

Hey Mag turns to beat-matching, mixing and scratching masters Hollaphonic to find out what the British DJ duo have planned for 2018, and we catch up with Dan Greenpeace to find out how he became a renowned radio presenter.

Seham Kably seham@heymusic.com Nick Stephenson

Following the success of LMYW in Dubai, we kicked off the first series of LMYW LDN earlier this year, and it’s been a whirlwind. LMYW LDN has offered the ideal hub for all music fans and music creatives to come together for a great night. Check out page 14 to see Liam Bailey, Black Josh, Laura Roy, and more.

PHOTOGRAPHERS Nathan Evans nathan@heymusic.com Darren Haynes Justin Higuchi Adam Scull

AASHA BODHANI

Rose Hartman Pieter-Jannick Dijkstra Jason Persse Ultomatt

LOCATION London

@heymusicofficial

@heymusictweets

@heymusicofficial

www.heymusic.com

Hey Mag is published by Hey Music. All rights reserved. Reproduction in whole or in part without written permission is prohibited. The publisher regrets that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views within this publication are not necessarily those of the publishers or editors. All credits are accurate at the time of writing but may be subject to change.

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CONTENTS

4 10 14 17 22 24 30 34

RAYE

UKâ&#x20AC;&#x2122;s hottest rising singer-songwriter

PETER EDWARDS Talks Jazz

LMYW

Goes on tour

DAN GREENPEACE Vinyl & radio master

HOLLAPHONIC Dynamic British DJ duo

A.R. RAHMAN Mozart of Madras

CASH KINGS Jay-Z tops rich list

DAD ROCK 75

Ultimate Dad rock playlist

10 22

16 22

AYE - born Rachel Keen - in a way, embodies a presence of mystery. On the surface we see her edgy style, voluminous rose gold curls and a bubbly personality that matches her warm, yet mischievous smile. But who is RAYE?

Raised in Croydon, South London, RAYE’s natural beauty and musical passions stem from her mother’s Ghanaian-Swiss heritage and her English father. Born into a musical family, she naturally followed suit: “I had been writing songs from the age of 7 or 8 years old, and they were so bad,” she says laughing. “But it was always in me and my dad was a massive part of that. I used to watch him play keys and write music, so you know, it came naturally.” RAYE is an artist who strived to establish her songwriting art first, and by the age of 14 she enrolled at the infamous BRIT school, majoring in music and minoring in dance. It’s no secret that two years later the star dropped out after she felt ‘too confined’ to one sound. She now describes her sound as a mix of pop music with Afrobeat influences. “I mean, I’m Ghanaian,” she says. “Growing up, my grandma was at home with us and there was a strong Afrobeat culture, she’d play all the riddims, and my music has a lot of that influence.” RAYE is only 20 years old, but she’s been an unstoppable force since her BRIT school days. Shortly after she left, she had her big break when Olly Alexander from the band Years & Years heard her R&B jam, ‘Hotbox’ on HypeMachine. “He [Olly] was talking about it in interviews, which was so weird and really crazy for me, and it kinda helped me get my record deal with Polydor.” “Years & Years invited me to support them on tour, it was really epic.” She then recalls her first touring experience: “If you had seen me before, compared to the way I like to do shows now, you know I was really nervous. I was chained to the mic the whole time, I was a bit worried. But you know, practice makes perfect.” Obsessed with songwriting, RAYE grew up listening to Nelly Furtado, Jill Scott and Natasha Bedingfield, who are all prolific female songwriters. That inspiration has led RAYE to rack up a list of writing collaborations for some of music’s top dogs, including Stormzy, Nas, Little Mix and John Legend. “Most of this industry is just kinda luck, right?”, says RAYE, as she humbly talks about how she co-wrote Charli XCX’s ‘After The Afterparty’. ”We ended up in the studio at the same time and ended up getting in a session, we just really clicked and wrote three or four songs in one day. I wanted to put out one of the songs we did and asked her to direct the video, and she was like ‘yes’, and off the back of that, she asked me to write for one of her projects. “She’s great, so hardworking,” she adds with admiration. RAYE doesn’t shy away from exploring other genres, whilst she describes her sound as Afrobeat pop, it hasn’t stopped her from venturing into the grime scene. “Stormzy’s my bredrin, I love him,’ she says, smiling.

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IT WAS VERY DAUNTING TO CREATE MUSIC IN A CERTAIN WAY AND WRITE A CERTAIN TYPE OF MUSIC AND THAT PEOPLE WOULD LIKE A BIT MORE IF IT WAS WHITER OR A BIT MORE POPPIER

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“Stormzy is just one of those lovely guys who is never afraid to compliment or reach out and make someone feel good. He followed me on Twitter and was like ‘Yo RAYE, you’re doing something sick, I love it’”. The pair have since released ‘Ambition’ and she also made a cameo appearance in his video ‘Big For Your Boots’. RAYE’s writing creativity saw her team up with producer Jax Jones, and unknowingly to them, their house anthem, ‘You Don’t Know Me’, was an instant hit. “None of us saw that coming, it was really insane. It was the way we wrote the song, it was natural,” she recalls. “We ended up in a session together, because we have the same A&R label, we had one day, and you know we were drinking and having a party and it was mostly freestyles and vibes. “He [Jax Jones] took it away and put the Booka Shade’s bassline on it, and I was like ‘sick’, but I just had no idea it was gonna do like it did, so it was very cool.” And cool it was, the song dominated the charts, hitting the number 3 spot and it was nominated for ‘Best British Single’ at the BRIT Awards in 2018. RAYE’s talents are also seen through her own music, bringing her own sound to the music scene she aims to ultimately diversify the charts. “I kinda got down about it for a while, back home is very whitefied but things are ready to change,” she says frankly. “It was very daunting to create music in a certain way and write a certain type of music and that people would like a bit more if it was whiter or a bit more poppier. “I realised that that’s not me and not what I want to do, so I have been working really hard to do both, and I’m excited to see what people think.” The budding songstress released her first EP ‘Welcome To The Winter’ in 2014 on SoundCloud, followed by ‘Second’ and this year’s ‘Side Tape’. Her newest six-track EP features a versatile blend of artists, including Kojo Funds, RAY BLK, Nana Rogues and Mr Eazi, who have all contributed to her rare sound. RAYE’s EP is a mixture of sultry love songs, catchy dance tunes and girl power themed rhythms. Let’s take ‘Decline’ for example, the singer takes Ja Rule and Ashanti’s ‘Always On Time’ hook and reverses the meaning to empower women, she also teams up with labelmates R&B singer Mabel and MC Stefflon Don for ‘Cigarette’. RAYE also dropped the video for ‘Confidence’, the track itself features Maleek Berry and Nana Rogues and offers subtle Afrobeat sounds yet Latin beats. The video sees RAYE alone dancing seductively in casual clothing teamed with Nike Cortez – a style which she is most confident in. “I like to mix and match, I’ve always been quite boyish, I’ve probably worn one skirt in my life,” she says jokingly. RAYE is also calling out for girl solidarity: “What’s up with all the girl hate girl shit...?”, she sings in her new track ‘Friends’. Produced by Mark Ralph and Kyle Shearer, and alongside Fred Gibson, the energetic summer tune calls for females to support each other and to drop the negativity. The artist has now cemented her name in the industry, both songwriter and singer, RAYE has certainly made her mark, but she still has some words of wisdom for her younger self. “I’d tell her to calm down and trust that everything will be okay. It’s so easy to overthink and be worried, and when you’re putting something out publicly, you just wanna get it right. I need to relax and keep doing my thing, the doors will open when they are meant to.” The doors are certainly staying open for RAYE. Right now, the star is touring across the UK, as well as playing numerous summer festivals, and with rumoured studio sessions with Drake, Hey Mag is watching out for RAYE!

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RAYE

A LONG WALK JILL SCOTT

LOOK WHAT YOU’VE DONE DRAKE

SAY IT RIGHT NELLY FURTADO

FOUR WOMEN NINA SIMONE

RAYE reveals her favourite Top 5 songs exclusively on Hey Music’s YouTube channel. Full interview coming soon.

w w w . yo utube . c om / he y m usi c of f i c i a l

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SOULMATE NATASHA BEDINGFIELD

PETER EDWARDS TALKS HYBRID JAZZ

PHOTO CREDIT: PETER EDWARDS

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UK JAZZ MUSICIAN PETER EDWARDS ON HIS LOVE FOR THE GREATS AND HOW TO MASTER THE ART OF JAZZ. WORDS : AASHA BODHANI

eter Edwards has, by anyone’s standards, a multifaceted craft. From the tender age of six he began to learn the art of becoming a pianist. Shortly after he added composer and musical director to his portfolio. Despite the early start, Edwards was in his late 20s when he made the decision to turn his musical hobby into a professional career, and it was a risk that has since served him well. It would be fair to say that music ran in Edwards’ blood; his parents provided him and his siblings with endless opportunities to find their own creative flair. But it was his brother who gave him the inspiration to develop his own style by introducing him to legendary musicians, including trumpeter Miles Davis, jazz pianist Johnny Parker and composer Herbie Hancock. “One of my heroes was Herbie Hancock, he was classically trained and an incredible improviser. I think overall that is what got me into jazz, seeing someone who was a world-class improviser,” he recalls. Once he found the sound he aspired to, his mission was to find other artists and absorb live music, citing that he fell in love with the idea of being able to create in the moment. “I thought it was magical the way musicians would generate music, you know, off the cuff. The curiosity of how they did that is what won me over.” He describes his style as a hybrid of jazz, mixed with soul, Carribean grooves, Latin tones and gospel. “These are the sounds that are rhythmically impulsive and interesting,” he says. He adds: “I grew up in the 90’s and at a time when acid jazz in the UK was big, but it also had a mixture of that older stuff from the 60s to newer sounds where jazz was seen in the likes of Jamiroquai, Incognito and Jason Lyon.” Edwards isn’t limited to composing, he speaks fondly of working with his band and working on various commissioned projects. “I like the flexibility of either performing, directing or writing, they are all different,” he explains.

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Last year, Edwards was commissioned to form a 15-minute composition that celebrates the year of 1917, which was a defining year for jazz. Named ‘Journey with the Giants of Jazz’, it sees the births of some of the most well-recognised jazz musicians, including composer ‘Tadd’ Dameron, singer Ella Fitzgerald, trumpeter Dizzy Gillespie, pianist Thelonious Monk, drummer Buddy Rich and percussionist Mongo Santamaria. Taking inspiration from the classics, Edwards pieced the six greats together and incorporated 100 years of jazz into 15 minutes, to form an episodic creation of their different styles of music and characters. “When I was given the commission, the first thought was ‘how can I do all of that in 15 minutes’. Sometimes it takes a couple of days to get my head around the project and come up with ideas. I create the context first, and the science and form will come from those jazz artists.” “From there I would sketch ideas on the piano and record it, but I wouldn’t question what I do too much, I just continue to record. Later I will go back and refine it by finding a way of putting different strands together and structuring the beginning and end,” Edwards says.

One of my heroes was Herbie Hancock, he was classically trained and an incredible improviser. I think overall, that is what got me into Jazz... - Peter Edwards He goes on to say that a project of that size typically takes two months from the beginning to rehearsals, and even then, he may scrap the idea and completely start again. April marked Jazz Appreciation Month, but is there enough jazz influence in today’s commercial music? Edwards talks of combining his jazz sound with other genres, but he explains jazz solos are usually heard during the Christmas period when the likes of Nat King Cole and Ella Fitzgerald become more commercially present. Whilst jazz influence in today’s music may not be so obvious, Edwards does mention that there are hints of jazz, whether it be Bebop, blues, funk or Latin, coming through. With years of experience in the music industry, Edwards offers his take on how to master the art of jazz. He recalls his first time at Ronnie Scott’s Jazz Club in London, where he sat in on a jam session and listened and would search the Internet to find the song and form his own sound. “I would say at the beginning of a career in jazz, aim to work with different types of jazz musicians, or even any type of musician. Try to find opportunities, go to jam sessions, gigs, and be seen. It’s all about networking.” Edwards points out that new musicians need to master the basics. “You must be easy to work with and [be] on time. When I first started, I didn’t feel like I had the confidence, but I knew I was reliable and that’s how I began to build a network of people. It’s important to have that foundation early on.” One thing is for sure, Edwards shows no sign of slowing down. Following the last show of ‘Journey with the Giants of Jazz’ at London’s Queen Elizabeth Hall, he will now tour with Mica Paris and Zara McFarlane and continue to take on more commissioned projects.

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PETER EDWARDS

GREENSLEEVES JOHN COLTRANE

ROUND MIDNIGHT MILES DAVIS

THE MAZE HERBIE HANCOCK

LUSH LIFE CHICK COREA

BEWITCHED, BOTHERED AND BEWILDERED ELLA FITZGERALD

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WORDS: SOPHIA NYANANYO

The first LMYW LDN (Love Music Your Way - London) series kicked off in May this year and it’s been a whirlwind, from famous faces to energetic audiences, and even open mic sessions, LMYW LDN has offered the ideal hub for all music lovers and music creatives.

BLACK JOSH

LMYW LDN is a platform for artists ready to launch their careers and a testing ground for them to showcase their talents in a room full of like-minded creatives. Taking place in the cosy basement of The Book Club in Shoreditch, London, DJ Darka got the place heated, with banger after banger and host Shezar had the crowd laughing, dancing, and singing to the top of their lungs. Named as Complex’s ‘One to Watch’, Jamilah Barry hit the stage with her delicate yet powerful vocals, followed by Black Josh, who rapped his latest tracks. LMYW LDN’s second event saw Pier James fuse grime with hip-hop on stage, along with singer / songwriter Riiver. For the finale, plenty of familiar faces were in attendance, and a few friendly music industry faces too, including BBC Radio 1’s Benji B and one of our favourite vocalists, singer / songwriter Maverick Sabre - who was celebrating his birthday. Manchester’s HMD pronounced ‘Hamdi’ opened the show with his laid-back soulful falsetto vocals, followed by Laura Roy. She performed her latest single ‘Temporary’ which had the crowd singing along, it’s fair to say they both gained new fans. Host Shezar introduced special guest Liam Bailey and in true Liam style, he interacted with the crowd and had everyone bopping and singing along to his reggae rhythm for ‘When Will They Learn’. LMYW LDN will be back in September, new and improved! Watch this space...

JAMILAH BARRY

THE HOST

THE BAND

LAURA ROY

GRACE CHATTO & YASMIN GREEN (CLEAN BANDIT) & FRIENDS

LIAM BAILEY

PIERS JAMES & TIA SACKEY

MAVERICK SABRE & TACHIA NEWALL

PIERS JAMES

HMD

SHEZAR

DJ DARKA

RIIVER

LISTEN NOW TO THE FIRST SET OF PODCASTS HOSTED BY DAN GREENPEACE

A VAI LAB LE V I A

Q&A

WITH

DAN GREENPEACE

DAN GREENPEACE IS A RADIO PRESENTER, PRODUCER, OBSESSED CRATEDIGGER AND MANAGES DUBAI-BASED BRITISH DJ DUO, HOLLAPHONIC. THE DYNAMIC DUO, OLLY WOOD AND GREG STAINER, ARE SIGNED TO SONY MUSIC AND RECENTLY LAUNCHED THEIR LATEST SINGLE ‘NEW ONES’. HEY MAG SITS WITH DAN GREENPEACE AND HOLLAPHONIC TO FIND OUT HOW IT ALL BEGAN.

PHOTO CREDIT: DAN GREENPEACE

Q: WHEN DID YOUR MUSICAL JOURNEY START? DG: My earliest music memories come from my parent’s vinyl collection. My father was into The Beatles, ABBA and Wings and my mother leant towards early R&B and Jazz like Jimmy Smith and Booker T, so that formed my musical DNA. I used play with vinyl a lot and make little mash-ups using our record player and cassette deck. That was probably around 1982/1983 when hip-hop as a genre started to emerge. The rest is history as they say.

Q: WHAT WAS YOUR SOUNDTRACK IN YOUR TEENS? DG: The first act I discovered and really embraced was Adam & The Ants around 1981 and I was 10 years old by that point. I was pretty fanatical about them and feigned illness one day to skip school then persuaded my grandfather who was looking after me that day to take me to Woolworths to buy the new Adam & The Ants single. The next step was a full-on immersion into every aspect of hip-hop culture. I inherited both a pop and ‘urban’ sensibility from my parents’ so when Chaka Khan released ‘I Feel For You’ featuring rapper Melle Mel (of Grandmaster Flash and the Furious Five) it really blew my mind. That’s when the switch flicked, and I was hooked. I feel lucky that I was the right age to have formed musical tastes by the time hip-hop emerged because I lived every day of its progression, single by single and album by album. Every week was a new exciting sound throughout my teenage years.

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Q: WHEN DID YOU FIRST FALL FOR THE TURNTABLES? DG: My father had a decent turntable, but it wasn’t actually until I was 21 that I could afford a pair of Technics 1200s. Before then, I had a makeshift setup of my father’s turntable, another cheap addition and a really basic mixer, but it forced me to learn the basics and make do with what I had. In 1983 the movie Wildstyle came out and there was a part in the movie where DJ Grandmaster Flash performed ‘Adventures on The Wheels Of Steel’ live in his kitchen. It was utterly mind blowing to me and probably thousands of others.

Q: LET’S TALK ABOUT YOUR MASSIVE VINYL COLLECTION... DG: How long have we got? Ok, let me give you a topline. I have a lot of hip-hop, that’s been the backbone of my career. I was a professional broadcaster on London’s XFM for several years, so I amassed a lot of music during that time. I have many of the original rap records I bought as early as 1983 so some of my vinyl is 35 years old but as hip-hop and music technology embraced sampling record from the ‘60s and ‘70s, I discovered a lot of that music too, so I have a large collection of old Jazz, Funk and Soul. As I was also a working DJ for many years I also have all the R&B, pop and rap hits from the ‘90s. I have pretty much every record needed to rock a party if I had to. Recently I’ve been visiting India and Lebanon a lot for business as I promote shows there, so I’ve been immersing myself into old Indian music whether Jazz or Bollywood albums. I’ve discovered some amazing music and part of that journey has been going to old authentic record dealers in Delhi or Bombay and getting to know them. I’ve loved going on that journey so my vinyl collection is going in all sorts of new directions lately. Essentially my collection is a musical journey of discovery that I hope never ends.

Q: HOW DID YOU FIND BEAT-MATCHING, MIXING AND SCRATCHING? DG: I’ll be honest, I’m a great beat matcher and mixer as I have a natural sense of rhythm but I’m not the best scratcher. That’s an element of the culture that requires real dedication like learning to play an instrument. If you liken it to playing a piano, I’d say I’m a very confident Grade 5 DJ. Not technically perfect but I could and have played in front of 10,000 people and pulled it off. For me it’s about music selection, reading the crowd and taking them on a journey but also giving them a bit of what they want too. Recently I’ve been doing more vinyl sets, playing to a hundred people rather than thousands and I’ve been enjoying that much more.

Q: WHAT WAS A PROUD MOMENT FOR YOU? DG: Around 1988 I started getting involved in pirate radio in my hometown of Leeds. I loved the medium of radio

PHOTO CREDIT: DAN GREENPEACE

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PHOTO CREDIT: DAN GREENPEACE

and sharing new music with people. Fast forward to the year 2000, my friend Zane Lowe was already a presenter on MTV and XFM and his passion for hip-hop lead to us getting a dedicated hip-hop show with our mutual friend Theo.

That moment was pivotal for me when a passion became a profession. I didn’t think about it at the time as we were in the moment but looking back it was a proud moment. A more recent proud moment was when I organised Ed Sheeran’s first Middle East and Indian tour. Again, I’d been booking and promoting artists for several years but that felt like a pivotal moment where all my hard work was suddenly validated. Those are just two that spring to mind but as I look back I’m happy with my contributions. As long as I’m contributing, I’m happy.

Q: TALK ME THROUGH ABOUT BECOMING/BEING A RADIO PRESENTER? DG: Becoming a professional radio presenter was pivotal and opened many doors, which lead me to now being a concert promoter. It also helped me become an artist manager, record label owner, journalist, publisher and so many other things. Some pre-dated radio but the move to professional radio validated everything. I interviewed and met some of my music heroes and I got to break new artists. I was literally the first UK radio presenter to interview Eminem and I played some records first that became global hits. It helped me understand the music industry on so many levels. I was presenter in a largely pre-digital era, which meant live radio was so thrilling. We had a genuine connection with our listeners.

Q: YOU’RE ALSO AN ARTIST MANAGER - WHAT IS THAT LIKE? DG: Becoming a manager was a bi-product of radio. I was already running a record label in parallel to the radio show but inviting new artists on my show made me realise there was a gap in the market for great UK rap and hip-hop. I met new cutting edge artists and could not only offer them radio airplay and exposure but also marketing and distribution for their music. In turn that lead into actually managing them.

Q: WHAT DOES THE FUTURE HOLD FOR YOU? DG: As long as I continue being passionate about music I’ll hopefully be lucky enough where I can continue to generate enough income to give my family a nice life. If the future continues on that trajectory, I’ll be happy. I want to get back into music production so that’s a personal goal. I’m also working on building a podcast network, which is the natural, modern equivalent of what I was doing with radio back in 2000. I’ll always buy vinyl and discover new and old music. I also really enjoy managing the artists I’m currently working with and watching their careers develop.

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DAN GREENPEACE

BUGGINâ&#x20AC;&#x2122; OUT A TRIBE CALLED QUEST

OBSESSION 77 OBSESSION 77

NICE AND SMOOTH GREG NICE & SMOOTH B

WE CAN DO THIS RED ALERT

Check out the Hey Music YouTube channel to hear Dan talk about his ultimate Top 5 tunes

w w w . yo u tube . c om / he y m usi c of f i c i a l

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BIG BEAT NICK INGMAN

HOLLAPHONIC

Q&A

WITH

PHOTO CREDIT: HOLLAPHONIC

Q: HOW DID HOLLAPHONIC COME ABOUT? H: Two musical guys introduced in a nightclub in Dubai; one producing and one songwriting, both missing each other’s skills... fast forward to today and we’ve got a No.1 album under our belt and share the creative process having taught each other and found a groove.

Q: WHAT WAS THE INSPIRATION BEHIND YOUR LATEST EP - SPACESHIP? H: Adventures to London and meeting new artists, we created Spaceship as a metaphorical love story about a pure relationship knowing no bounds, not confined to the world we live in, but a story told about the endless search for ‘The One’ ... we have this one, some funk and live R&B vibes, and enjoyed every minute. They use it to teach English in Thailand and we’ve been in their top 10 since December 2017... it’s definitely the track that has changed everything.

Q: HAVE YOU PLAYED AT ANY FESTIVALS THIS YEAR? H: This year has been about new music, so we’ve taken a short break from performing to gather a completely new sound for Hollaphonic; much more soul, more lyrical content and a real sunshine vibe. The latest representation Hollaphonic can be found in our single ‘New Ones’ which is out now!!

Q: WHAT ARE YOUR THOUGHTS ON THE EMERGING TURNTABLE TALENT? H: Dance music is shifting into a new phase of artistry, DJs are as much selectors again as they are technically capable. James Hype is doing some special stuff across the board so that’s exciting to see - to us it’s about creating your own sound from edits of existing music to writing and producing your own, from that perspective we’re on an exciting path as live electro is starting to push through again. I’m interested to see where it goes next and we’re trying to be ahead of the curve.

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Q: YOU RECENTLY TEAMED UP WITH LA PERLE FOR A MUSIC VIDEO - WHAT WAS THAT LIKE? H: It was awesome, having the chance to have such amazing performers interpret your sound into physical movement, dance and acrobatics was breathtaking. The end product was spectacular, as is the show itself, and we’ll continue to work with them on new ideas. The video is now on all Emirates airline flights, so catch it on ICE when you next travel!

Q: HOW DID THE COLLABORATION BETWEEN HOLLAPHONIC’S AND FILMMAKER MOHAMMED SAEED HARIB COME ABOUT? H: Mohammed and his studio Lammtara are responsible for some truly groundbreaking work, we have searched for such a partner to take our sound and visualise our brief. He absolutely nailed it and the wicked cover for Spaceship was the product. This has now been seen by over 4 million listeners worldwide so we’re really happy about that, the collaboration was so successful for everyone involved. Mohammed is such a dude, as are his team.

Q: WHAT HAS BEEN A PROUD MOMENT FOR YOU BOTH? GS: When I catch my daughter singing the words to our songs or watching our videos on YouTube, family is everything. OW: We love the fact Thailand has adopted us with such a welcome and the fact our lyrics are teaching people English is a real honour.

Q: WHAT DOES THE FUTURE HOLD FOR HOLLAPHONIC?

PHOTO CREDIT: HOLLAPHONIC

H: New music, we’ve got some great stuff coming out in 2018; new sounds with Thai artists, Japanese artists and some more music with both BXRBER and Aaron Camper. We couldn’t be more excited; it’s about focus and honing in our performance into a live show to take across the planet... so we can’t wait to be everywhere VERY soon! The passion for what we do is contagious and our energy is relentless... Hey Music industry! We’re ready!

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PROFILE: THE MOZART OF MADRAS – A.R. RAHMAN WORDS: DARREN HAYNES Whe n it co me s t o d i nne r p a r t y d i s c us si o ns ab o u t mu sic i n I nd i a n f i l m s , t he r e a r e a co upl e of in itials an d a s ur na m e t ha t y o u m us t q u o te to d emo n str ate so m e s e m b l a nc e o f k no wl edge A.R. R ah man . To cal l h i m a ‘ p r o l i f i c c o m p o s e r ’ i s an u n d er statemen t. A . R. Ra hm a n ha s c o m po se d th e so u n d tr ack s f o r o v e r 1 0 0 f i l m s , r e s ul ti ng in s al es o f o v er 2 0 0 m i l l i o n a l b um s wo r l dwi de . R emar k ab l y , h e ’ s a l s o t he o nl y A s i a n i n t he l i st o f th e w o r l d ’ s to p 2 5 b e s t s e l l i ng r e c o r d i ng a rti sts. Time magazi n e d ub b e d hi m “ t he M o z a rt o f Mad r as” an d p lac e d hi m i n i t s l i s t o f t he wo rl d’ s 1 0 0 mo st i n f lu e nt i a l p e o p l e i n 2 0 0 9 . H i s T ami l fa n s si mp l y cal l hi m “ I s a i P uy a l ” ( E ng l i s h: the Mu si cal Sto r m). H e has w o n n u m e r o us a wa r d s , b o t h i n I ndi a and fur t h e r af iel d . A t t he 8 1 s t A c a d e m y A wa r ds, he won tw o O scar s f o r B e s t O r i g i na l S c o r e a n d f o r Best O r igin al So ng , m a k i ng hi m ( a t t ha t ti me ) , on ly th e th i r d I n d i a n t o wi n a n A c a d e m y Award. R ah man mu st h a v e a v e r y wi d e m a nt el pi e c e in his h o me ( o r ho m e s p l ur a l ) t o d i s p l a y hi s d iz zyin g ar r ay o f a wa r d s . S i t t i ng a l o ng s i d e tho se two O scar s fo r 2 00 8 ’ s S l um d o g Mi l l i o na i r e are : a Golde n G lo b e , a B A F T A , t wo G r a m m y A wards, six N atio n al F i l m A wa r d s , f i f t e e n F i l mf are Awa r d s an d sev e nt e e n F i l m f a r e A wa r d s So uth. In 20 1 0 , th e G o v e r nm e nt o f I nd i a a wa r d e d hi m th e Pad ma B h u s ha n, t he t hi r d hi g he s t c i vi l i an awar d . Let’ s j u st say th at he ’ s a m a s s i v e s t a r i n hi s nati ve In d i a. Wh at’ s b ig g e r t ha n m a s s i v e ? H um o ngo us? H e’s th at w o r d . Or b i g g e r . Alla h - R ak h a R ahm a n wa s b o r n i n C he nnai to a H ind u - Tamil fam i l y . I n a c t ua l f a c t , A . R. w asn’ t b or n Allah - R ak ha Ra hm a n a t a l l . H i s bi rth n ame i s D ilee p Kum a r b ut he c o nv e r t e d to Isla m in 1 9 8 9 an d a s s um e d hi s p r e s e nt name . H is f ath e r , R .K . S he k ha r , wa s a l s o a f i l m -sc o re comp o ser , ar r an g e r a nd c o nd uc t o r f o r T ami l an d M alay alam f i l m s a nd wa s s up p o r t i ve o f R ah man ’ s mu si c i a ns hi p unt i l hi s d e a t h whe n R ah man w as ju st ni ne y e a r s o l d . R ah man to o k in s p i r a t i o n f r o m we s t e r n m u si c as well as mo r e tr adi t i o na l I nd i a n m us i c . H e re c al l s listen in g to Jim Re e v e s a nd t he C a r p e nte rs alongsi d e th e w o r k o f I nd i a n f i l m c o m po se rs su ch as M ad an M o ha n, N a us ha d A l i a nd Ro shan (who w r o te in H i nd i ) a nd T a m i l c o m po se rs inc lu d i n g K .V. M a ha d e v a n a nd V i s hwa nati i an R amamu r th y. As a mu sic d ir ec t o r , hi s b i g b r e a k t hr o ug h c ame

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PHOTO CREDIT: WIKIPEDIA

whe n he sc o re d the 1992 T ami l mo vi e , R oja. It was an i nstant hi t, wi th Rahman’ s so undtrack taki ng the c o untry by sto rm and starti ng h im o n hi s pe rso nal j o urne y to mul ti pl e awards an d gl o bal f ame . Ove r the ye ars, Indi a has pro duc e d man y l e ge ndary f i l m c o mpo se rs ( o r ‘ musi c di rectors” as the y’ re c al l e d i n the Indi an f i l m i ndu stry ). Fo r e xampl e , al o ngsi de Rahman’ s, yo u cou ld name dro p Naushad, R.D . B urman, S han karJai ki she n o r Il ai yaraaj a. T he mai n di f feren ce be twe e n the m, i s that Rahman has gai ne d mu ch wi de r i nte rnati o nal ac c l ai m, has trans ition ed bac k and f o rth be twe e n B o l l ywo o d an d Ho l l ywo o d, c o nque ri ng the We ste rn wo rld an d bri ngi ng Indi an musi c to the We ste rn ma sses. B ut hang o n a se c o nd. C al l i ng hi m “ T he K in g of B o l l ywo o d Musi c ” sho ws i gno ranc e an d sells hi m a l i ttl e sho rt. T he ge ne ri c te rm, ‘ B o l ly w ood’ re f e rs to Hi ndi l anguage f i l ms. B ut Rah man i s a ve te ran c o mpo se r o f sc o re s f o r not on ly B o l l ywo o d but al so Ho l l ywo o d i n Engl i sh … an d T ami l … and T e l ugu … and Mal ayal am … an d e ve n Mandari n. B ri ti sh c o mpo se r and pre vi o us c o l l aborator, S i r Andre w L l o yd We bbe r has be e n qu oted as sayi ng “ A.R. Rahman i s no thi ng short of a me l o di c ge ni us. I admi re hi s uni que sen se o f harmo ny, hi s stagge ri ng rhythms an d h is me l o di e s that take an une xpe c te d twi st t h at n o We ste rn c o mpo se r wo ul d dre am o f .” It’ s i mpo ssi bl e to argue wi th that tribu te. A.R. Rahman c an do no wro ng. It se e m s th at e ve rythi ng the c o mpo se r-so ngwri te r-sin gerpro duc e r-mul ti -i nstrume ntal i st to uc he s tu rn s to go l d. Inde e d, he i s c re di te d wi th si ngl e -han dedly re vo l uti o ni si ng Indi an f i l m musi c an d h as

h im sel f b e co me o ne o f t he I nd i a n f i l m i nd ustry’ s b igge st mo n e y s p i nne r s , v i r t ua l l y o wni ng the industr y fo r mo r e t ha n t wo d e c a d e s . T hat’ s n ot an o v e r stat e m e nt . H i s s t a g g e r i ng m usi c al b r ill ian ce can m a k e o r b r e a k a f i l m i n Indi a an d I n d i an p r o duc e r s s we a r b y hi m . “ I n Indi an cine ma, th e mu s i c i s s uc h a n i m p o r t a nt part o f it, t h at mu si c ca n s a v e a m e d i o c r e f i l m . Wi th R ah man , it h ap p e ns f r e q ue nt l y ” s a y s f i l m c ri ti c Jai Ar j u n Sin gh . Constan t p r ai se , f a n a d o r a t i o n a nd c o m me rc i al su ccess mu st b r i ng a he a v y r e s p o ns i b i li ty i n ter ms o f mai n t a i ni ng a hi g h q ua l i t y , pro l i f i c ou tp u t. I n an o n l i ne i nt e r v i e w wi t h V i j a y A mri taj ,

Rahman e xpl ai ns hi s phi l o so phy: “ If yo u h ave a ve ry stro ng mi nd and wi l l , yo u c an do any th in g. Fo r me , I was al ways l e arni ng so I was movin g f ro m o ne thi ng to ano the r thi ng. No w I h ave the re spe c t ho w do I ke e p i t up? Ho w do I learn mo re to ke e p the l o ve whi c h pe o pl e are givin g me ? I’ m grate f ul to Go d, to f ami l y, to my fan s, to musi c and musi c al ski l l s.” And do e s he e ve r thi nk o f turni ng hi s du o of Osc ars i nto a tri o ? “ I made my mi nd re al ise th at two i s e no ugh f o r a l i f e ti me and anythin g else c o me s as a bo nus, ” he says. “ Yo ur mi nd is n ot thi nki ng abo ut awards, i t’ s thi nki ng abo u t art.”

TOP 10 RECOMMENDED VIEWING & LISTENING 1. 2. 3. 4. 5.

R o j a ( 1992) R a ng e e l a ( 1995) D i l S e ( 1998) L a g a a n ( 2001) R a ng D e B a sa nt i ( 2006 )

6. Slumdog Milliona ire ( 2008) 7. Couples Retrea t ( 2009) 8. 127 H ours ( 2010) 9. Roc k sta r ( 2011) 10. Vic eroy ’ s H ouse ( 2017)

THEIR LIFE IN SONG NICK STEPHENSON MEETS FOUR SONGWRITING LEGENDS TO DISCOVER THE STORY BEHIND THEIR SONGS.

BARRY MASON th e

wa s a l e a d i ng s o ng wr i te r o f 1 9 6 0 s , wr i t i ng m a ny s o ngs i n p a r t ne r s hi p wi t h L e s Re ed. He e a r ne d num e r o us a wa r d s t hr o ug ho ut hi s c are e r i nc l ud i ng f i v e I v o r No ve l l o A wa r d s . H i s s o ng w ri ti ng credits i nc l ud e “ L o ve G r o ws ( W he r e My Ro s e m a r y G o e s ) ” , “ T he L a s t W a l t z ” a nd “ De l i l ah” whi c h wa s m a d e f a mo us b y T o m J o ne s .

B M o n s o ng wr i t i ng ... “ I’ m i nt e r e s t e d whe n pe o pl e us e i m a g e r y i n t he i r s o ngs. M y s t uf f i s s o s i m p l e . I se e m t o wr i t e l i k e a s t o r y . I f e e l that e v e r y wo r d ’ s g o t t o b e i n n o rmal co n v e r s a t i o n. I d i d a n i nt e rvi e w o n ce fo r o ne o f t he b r o a d s he e t s . It was very f latter i n g t o g e t i t . I t wa s i n m y he yday with stu f f i n th e c ha r t s a nd f e e l i ng no p a i n, yo u kn o w . An d th e g uy s a i d ‘ B a r r y , y o u’ r e a maz i ng, you j u st k n o w h o w t o p ut y o ur f i ng e r o n the p u l se o f th e ev e r y m a n, o f t he c o m m o n man’ . Litt l e d i d h e k n o w, I wa s wr i t i ng t o t he a bso l ute limit o f my in te ll e c t ua l c a p a c i t y . M y s t y l e i s ve ry sim p l e.” BM o n th e so n g , “ D e l i l a h” : “ T he i ns p i r a t i o n ... my fir st p o p h i t a s a c hi l d wa s F r a nk i e L ai ne sing i n g Je zeb e l . . . a na ug ht y g i r l s o ng . I tri e d Sa lo me i n my m i nd , y o u k no w, t r y i ng t o thi nk of n au gh ty gi r ls b ut S a l o m e wa s a d i f f i c ul t wo rd an d n o t e d gy e no ug h. T he n D e l i l a h c a m e i n my mind . I w as tr y i ng t o d o a s t o r y f r o m hi sto ry, you k n o w , Sams o n a nd D e l i l a h. I t wa s g oi ng to b e ab o u t h im l o s i ng hi s ha i r a nd e v e r y t hi ng but I did n ’ t ge t th at f a r . I e nd e d up wi t h a who l e ne w stor y .”

GRAHAM GOULDMAN

i s b e s t k no wn f o r hi s wor k w i th 1 0 cc , p e nni ng c l a s s i c hi t s s uc h as “Dr ead l o ck H o lid a y ” . I n 2 0 1 4 , he wa s i nduc te d into th e So n gw ri t e r s H a l l o f F a m e a t t he 45th an n u al i n d u ctio n c e r e m o ny . GG o n so n gw r iti ng … “ I ’ v e wr i t t e n s o ng s o n my own an d I co l lab o r a t e a l o t . I ’ v e b e e n v e r y l uc ky, I’ve h ad gr eat so ng wr i t i ng p a r t ne r s , p a r t i cul arl y Er ic Stew ar t fr o m 1 0 c c a nd t he l a t e , gre at Andr ew Go ld .’ GG o n th e so n g “ N o Mi l k T o d a y ” : “ T hi s i s a so ng I wr o te in th e ‘ 6 0 s . M y l a t e f a t he r us e d t o he l p me

H E Y M AG - A U G U S T 2 0 18

wi th l yri c s and o f te n c ame up wi th so ng ti tl e s as we l l . I’ ve to l d thi s sto ry e i ght bi l l i o n ti me s but I’ m go i ng to te l l i t e i ght bi l l i o n and o ne no w. He we nt ro und to o ne o f hi s f ri e nds’ but hi s f ri e nd wasn’ t i n. He turne d o n the do o rste p and he saw an e mpty mi l k bo ttl e wi th a l i ttl e no te i n i t. He c ame bac k to me and sai d “ Graham, yo u sho ul d wri te a so ng c al l e d ‘ no mi l k to day’ . I said th at i s a T ERRIB L E i de a. He sai d i t’ s no t go i n g to be a so ng abo ut the f ac t that pe o pl e do n ’t n eed any mi l k that day, i t’ s what the e mpty bottle symbo l i se s; i t’ s the f ac t that l o ve has left th e ho use . Anyway, I di d wri te i t.” GG o n the so ng “ D re adl o c k Ho l i day” : “ T he ph rase ... the so ng ti tl e was gi ve n to me by so m ebody I was tal ki ng to . I was o n ho l i day i n Jama ica an d we we re tal ki ng abo ut spo rts and I tal ke d abou t Manc he ste r Uni te d, o bvi o usl y. I sai d “w h at abo ut c ri c ke t? D o yo u l i ke i t? ” And he sa id, “N o, I do n’ t l i ke i t” . I sai d “ Oh” ... surpri se d. He said, “ No , I l o ve i t” and that was i t. I go t back from ho l i day and we we re wri ti ng at my ho use - Eric and I. Eri c had be e n o n ho l i day i n B arba dos, I’d be e n to Jamai c a and we starte d tal ki ng abou t o ur ho l i days and we starte d pl ayi ng this th in g and that was i t, o f f we we nt. Qui te si mple an d a re al l y qui c k so ng to wri te as we l l .”

MIKE BATT

i s a si nge r-so ngwri te r, musician , re c o rd pro duc e r, di re c to r, c o nduc tor an d f o rme r D e puty C hai rman o f the B PI. He is be st kno wn f o r c re ati ng T he Wo mbl e s pop act, wri ti ng the c hart-to ppi ng “ B ri ght Eyes” an d di sc o ve ri ng Kati e Me l ua. Hi s awards i nc l ude five Ivo r No ve l l o Awards. MB o n the so ng “ B ri ght Eye s” : “ In 1976, I w as c o mmi ssi o ne d to wri te a pi e c e o f musi c wh ich w as to c hange my c re di bi l i ty rati ng o ut o f ten from o ne to whate ve r i t be c ame , at l e ast te mporarily anyway. T he so ng was c o mmi ssi o ne d by the [original] producer of ‘Wa te r s hip D o wn’. J ohn Hubl e y, the gre at di re c to r, sai d to me ‘ write me a so ng abo ut de ath’ . He di dn’ t re al l y want son gs at al l , he wante d a dark f i l m. I tho ught, wow , th at re al l y i s se ri o us, that’ s go i ng to be a he avy so ng and I re al l y wo rri e d abo ut i t f o r a whi l e . T he n, I was si tti ng at the pi ano and I tho ught ac tual l y i t’ s o ne o f the mo st i mpo rtant thi ngs i n o ur l i f e . What happe ns af te rwards?

It’s n o t th e d e ath, i t ’ s t he a f t e r l i f e o r whate ve r you mi gh t b el iev e i n. I wr o t e t hr e e s o ng s, two of w h ich w e r e c huc k e d o ut . “ B r i g ht E y e s” was ch u ck ed o u t th r e e t i m e s a nd l uc k i l y g o t p ut bac k in th r ee ti me s. Two we e k s a f t e r t he s e s s i on wi th Ar t G ar fu n k el , the d i r e c t o r J o hn H ub l e y d i e d o n th e o p er ati n g ta b l e d ur i ng o p e n he a r t s u rge ry so wh en h e co mm i s s i o ne d m e t o wr i t e t he so ng, d eath mu st’ v e b e e n i n t he f o r e f r o nt o f hi s m i nd.”

RAY DAVIES - o f te n r e f e r r e d t o a s ‘ t he g o d f athe r of B r i tp o p ’ - w a s t he l e a d s i ng e r , r hythm guitar i st an d ma i n s o ng wr i t e r f o r T he Ki nks. He was k n igh te d in t he 2 0 1 7 N e w Y e a r H o no u rs f o r ser v ices to th e a r t s .

o pe ni ng, c o mpe l l i ng ve rse , take the m in to a sto ry, have a ‘ be c ause bi t’ whi c h I c al l the bridge, take the m i nto ano the r ve rse and a c ho ru s an d yo u’ re o ut o f the re . I l o ve wri ti ng to de adl i ne s. It bri ngs me to l i f e . I thi nk de adl i ne i mpo se s a se t o f tho ught. Yo u c an thi nk to yo urse l f , what shal l I wri te about? Everybody says Ray go o n a ho l i day, wri te an o pus but the re al o pus i s wri tte n whe n yo u’ ve go t te n mi nute s to de l i ve r i t.”

R D o n so n gw r iti ng : “ A g r e a t s o ng s t r uc t ure i s ver y mu ch l ik e a g r e a t s ho r t s t o r y . H a v e a gre at

CLASSICAL FOCUS

NEVER TOO LATE TO START

Not all of us can claim Mozart’s “child prodigy” status (writing ten symphonies before his teens - the show off!) but as our infographic shows, some of the best pieces in a composer’s career don’t always occur early on. Whatever your age or level of fame, it’s never too late to start composing, so put pen to paper, right away. Research by Nick Stephenson

CASH KINGS IN HIP HOP FORBES RELEASES ITS ‘FORBES FIVE: HIP-HOP’S WEALTHIEST ARTISTS 2018’ LIST, AN THERE’S A NEW CASH KING. WORDS: AASHA BODHANI

Jay-Z has finally dethroned $900 million fortune.

Diddy

hip-hop’s

number

one

cash

king

enters

2018

with

The Brooklyn-born mogul, who has remained in the top five since 2011, upped his riches by $90 million over the past year. Though Jay-Z released his ‘4:44’ album in June last year, along with his substantial stakes in Roc Nation and TIDAL, it’s his investments in ‘Armand de Brignac’ Champagne and ‘D’Ussé’ cognac that gave him the needed boost. In March this year, Forbes released its ‘Forbes Five: Hip-Hop’s Wealthiest Artists 2018’ list, which saw heavyweights Sean ‘Diddy’ Combs and Dr. Dre in second and third place, respectively. Followed by Drake in fourth position and Eminem cementing fifth place due to Birdman’s supposed liquidity problems. Since Forbes began accounting the riches in the hip-hop world, Diddy has secured the top spot, but this year his estimated worth was $825 million. Like Jay-Z, he also has investments in the booze business where he saw a steady growth in his luxury ‘DeLeón Tequila’ brand, however Diddy’s interests in premium vodka brand ‘Cîroc’ took a slight hit. Despite dropping to second place, Diddy took to Instagram to share a picture of himself alongside Jay-Z with a message empowering black excellence globally. West coast giant Dr. Dre is a non-mover in the Forbes list, but has a net worth of $770 million thanks to Apple’s $3 billion purchase of ‘Beats by Dre’ in May 2014. Additionally, Dre’s fortune over the next year is expected to grow substantially once his Apple stock is fully vested and depending on the tech titan’s share price the amount could be over $100 million. If this is the case, Dre could surpass both Jay-Z and Diddy. The last two places see a massive drop, down to $100 million to be precise as Drake and Eminem tie in fourth and fifth position. The Toronto-born rapper has acquired more than $250 million since 2010, and after taxes and spending, Drake hit the $100 million net worth mark. The young rapper has an extensive real estate portfolio, with properties in Canada and California, as well as an equity stake in Virgina Black whiskey. Though Eminem isn’t perhaps regarded as a business mogul, he is the best-selling rapper of all time and from any genre, during the 2000s. Furthermore, his 2017 ‘Revival’ album release incurred strong music sales. The consumer shift in alcohol preference has certainly given Jay-Z an edge, and if the market continues to lean towards cognac, whiskey and tequila, the newest cash king could become the first billionaire hip-hop star. Forbes complies the ‘Forbes Five’ list by analysing assets and financial documents, plus speaking with analysts, attorneys, managers, industry players and the moguls themselves.

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PHOTO CREDIT: PIETER- JANNICK DIJKSTRA

PHOTO CREDIT: THE COME UP SHOW

PHOTO CREDIT: JASON PERSSE

PHOTO CREDIT: DOD NEWS

H E Y M AG - A U G U S T 2 0 18

20–23 September 2018 BOOK NOW Catwalks, shopping, talks & more — Save 20% Quote ‘HEYMUSIC’ Festival Entry and Silver Tickets Excluding Saturday. Valid until 19 September.

londonfashionweekfestival.com

The Store Studios, 180 Strand, WC2R 1EA

ULTIMATE

t’s been 42 years since Thin Lizzy released ‘Boys Are Back in Town’ and as songs go, this is dad music at its finest. Dad music or the better-known term ‘Dad Rock’ has a distinctive sound, but defining it isn’t easy. Whilst there is no straightforward explanation, it is typically tied to classic rock hits from the ‘60s and ‘70s, with dad vibes coming through Steely Dan, Queen and AC/DC. Dad Rock is one of those ‘once you hear it, you’ll know it’ genres; the bass guitar takes centre stage, along with the heavy drum beat and a strong hook. The lyrics, in most instances, are filled with masculine-themed, edgy lyrics instead of soft, romanticised vocals. Dad Rock isn’t just hardcore rock ‘n’ roll, but all are certainly wellconstructed songs. Dad Rock shares a familiar ‘feeling’ or ‘groove’. Maybe it’s more than a feeling? This new ‘genre’ is enjoyed by all age groups but Dad Rock (for us) conjures up images of white middle-aged men, wearing Levi’s 501 Originals, rocking hairstyles inspired by Led Zeppelin or Whitesnake. Nothing wrong with that! Think Jeremy Clarkson in his Top Gear heyday. In honour of dad rockers everywhere, Hey Mag has put together a list of the Top 75 ultimate dad tunes.

‘A Horse With No Name’ - America ‘Ace Of Spades’ - Motorhead ‘Africa’ - Toto ‘All Right Now’ - Free ‘All The Young Dudes’ - Mott The Hoople ‘American Pie’ - Don McLean ‘Another One Bites The Dust’ - Queen ‘Baba O’Riley’ - The Who ‘Black Magic Woman’ - Santana ‘Born In The USA’ - Bruce Springsteen ‘Born To Run’ - Bruce Springsteen ‘Boys Are Back In Town’ - Thin Lizzy ‘Broken Wings’ - Mr. Mister ‘Brown Eyed Girl’ - Van Morrison ‘Cat’s In The Cradle’ - Ugly Kid Joe ‘Chelsea Dagger’ - The Fratellis

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‘Crazy Crazy Night’ - Kiss ‘Crazy On You’ - Heart ‘Delta Lady’ - Joe Cocker ‘Don’t You (Forget About Me)’ - Simple Minds ‘Don’t Stop Believin’ - Journey ‘Down Under’ - Men At Work ‘Eye Of The Tiger’ - Survivor ‘Fight For Your Right’ - Beastie Boys ‘Foxy Lady’ - Jimi Hendrix ‘Free Bird’ - Lynyrd Skynyrd ‘Go Your Own Way’ - Fleetwood Mac ‘In The Air Tonight’ - Phil Collins ‘Johnny B. Goode’ - Chuck Berry ‘Kashmir’ - Led Zeppelin ‘LA Woman’ - The Doors ‘Layla’ - Derek and the Dominos ‘Live And Let Die’ - Paul McCartney & Wings ‘Lola’ - The Kinks ‘London Calling’ - The Clash ‘Love Is The Drug’ - Roxy Music ‘Lust For Life’ - Iggy Pop ‘Maggie May’ - Rod Stewart ‘Money For Nothing’ - Dire Straits ‘More Than A Feeling’ - Boston ‘Mr Blue Sky’ - Electric Light Orchestra ‘Oh Well’ - Fleetwood Mac ‘Paranoid’ - Black Sabbath ‘Pinball Wizard’ - The Who ‘Pride (In The Name Of Love)’ - U2 ‘Rebel Rebel’ - David Bowie ‘Reelin’ In The Years’ - Steely Dan ‘Rock And Roll’ - Led Zeppelin ‘Rockin’ All Over the World’ - Status Quo ‘Rockin’ In The Free World’ - Neil Young ‘School’s Out’ - Alice Cooper ‘Seven Nation Army’ - The White Stripes ‘Shine On You Crazy Diamond’ - Pink Floyd ‘Should I Stay Or Should I Go’ - The Clash ‘Since You’ve Been Gone’ - Rainbow ‘Smoke On The Water’ - Deep Purple ‘Stay With Me’ - The Faces ‘Stuck In The Middle With You’ - Stealers Wheel ‘Sultans Of Swing’ - Dire Straits ‘Summer of 69’ - Bryan Adams ‘Sweet Child O’ Mine’ - Guns & Roses ‘Sympathy For The Devil’ - The Rolling Stones ‘Take It Easy’ - The Eagles ‘Teenage Kicks’ - The Undertones ‘The Joker’ - Steve Miller Band ‘Two Princes’ - Spin Doctors ‘Under Pressure’ - David Bowie & Queen ‘Up The Junction’ - Squeeze ‘Walk On The Wild Side’ - Lou Reed ‘Walk This Way’ - Aerosmith/Run DMC ‘We Will Rock You’ - Queen ‘Werewolves Of London’ - Warren Zevon ‘Where The Streets Have No Name’ - U2 ‘Wild Thing’ - The Troggs ‘You Shook Me All Night Long’ - AC/DC