SPANISH POP SEASON - EDURNE!


Edurne hails from Madrid and came to the attention of the Spanish public as a solo star when she took part in the fourth series of the Spanish version of Pop Idol/Fame Academy. Although Operación Triunfo usually "discovered" and provided a strong launch-pad for many, Edurne had already two albums and a few tours under her belt before entering the TV competition and cutting a deal with Sony. Indeed, some may remember her actual entrance into pop world was as the teeniebopper in the group Trastos. Just as I didn't focus on Marta's years in Olé Olé, attention here lies squarely on Edurne - not Trastos. Edurne has established herself as one of Spain's central pop forces, releasing one bombastic album after another. Whenever she's had a knock-back she's picked herself up, dusted herself down and sparkled brighter than before. Some have described her as Spain's very own Britney Spears, but I wouldn't draw such comparisons. Interestingly however she has shared similar producers as the American pop queen and finds herself in a very fascinating place career-wise after the release of her last album. 


Edurne’s self-titled debut album with Sony featured songs written and produced by British and Scandinavian pop authors, then translated into Spanish. These included submissions by Tord Bäckström, Bengt Girell, Jan Nilsson, Adam Alvermark, Andreas Karlegard, Gustav Efraimsson, Kim-Lian, Anders Bagge, Peer Åström, Marcella Detroit, Alex Parks,  Robert Habolin, Niklas Jarl, Savan Kotecha and David Stenmarck. With the international feel of the album, comparisons were drawn to recent releases by Britney Spears and the album not only went Gold but secured a top 3 position in the Spanish charts. The lead single Despierta (co-written by Gustav Efraimsson of Sweden) also charted well in the southern European radio charts, especially in Greece and Italy. Interestingly, Marta Sanchez would record a Efraimsson song, Get Together, some years later.

Such was the success of the first album that Edurne returned to the studio to produce Ilusion, released a year after the debut. It is very much an extension of her first, understandable considering she teamed-up with her previous executive producers Pleeth & Stern for a number of the sessions. Ilusion is one of my favourite albums by Edurne. Not only is it incredibly cohesive but the album's credits bulge with Swedish songwriters. One could even say Ilusion was one of the best scandipop albums of 2007 to be released outside of Sweden. Writers included George Nakas, Victoria Horn, Klas Wahl, Fredrik Thomander, Anders Wikstrom, Tobias Gustavvsson, Gustav Efraimmsson, Mia Bergstrom, Lisa Lindebergh, Johan Bobak, Hanne Sorvaag, Harry Sommerdahl, Cutfather, Jay Jay, Fredrik Larsson, Johan Fransson, Tim Larsson, Tobias Lundgren, Jesper Jakobson, Patrik Ohlsson, George Samuelsson, Fredrik Rogberg, Sofia Bernson and Jorgen Elloffson. Oh and Phil Thornalley of Torn fame. In many ways her first two albums are perfect examples of Swedish pop music, only sung in Spanish. With its delicious electro pop beats, the lead single Ven Por Mi powered through the Spanish charts sounding like something from Kylie’s Fever album and the 1980s. This despite the fact the song itself had already been released four years earlier as Come With Me by the Flemish singer Sita.


Perhaps as a consequence to its stellar songwriting/production roster, many of the songs from the album could’ve been singles for Edurne. It is overbundled with killer pop tracks. Los Angeles Tambien Pecan sounds a little like Janet Jackson, Britney Spears and Monrose. Its English title is wonderfully called Venus In Your Hand. Another stand-out song is Algo Cambió which had previously been released by MYNT as Still Not Sorry three years before. I much prefer the MYNT original but Edurne gives it good try. Si Me Dejas En Paz is a bombastic slice of Schlager-pop, which is understandable considering the original demo was written by Sofia Bernston as a Melodifestivalen attempt that never came to fruition. One of the slower moments on Ilusion is the album closer Lo Que Siente and is another discreet Swedish cover, this time co-written by the mighty Jorgen Elofsson. Initially released by Bellefire as Perfect Bliss in 2001, Edurne’s version is beautiful, tender and dreamy. As was her cover of Norway's Maria Arrendondo’s Brief and Beautiful (renamed on Ilusion as Fue Para Los Dos) which eventually became the final second single from Ilusion. Which is a shame as songs like No Mirar Atras, Sin Control and Hoy Voy A Estallar screamed out to be released.


While it is clear that Edurne’s second album consisted of quite a few Swedish covers, her follow-up would be nothing but covers. Premiere saw Edurne acknowledge her career in musicals, a path that she’d followed after the immense success she’d experienced during a stint as Sandy in the Spanish run of Grease. There were interesting moments but the release was a set-back for Edurne. The album went to no. 39 and dropped out of the charts a week or so later. While it is sweet, it's not a highly recommended listen. I say that with a massively heavy heart as the first two Edurne albums were such great and sturdy pop productions. Best to overlook it.

It would take two years until Edurne returned to the studio, but when she did it was with an almighty bang. Produced by Oscar Claval, who’d produced some of Edurne’s strongest songs from her first two albums, Nueva Piel was a proper comeback. The first single Soy Como Soy (which translates as I am what I am) was written by Steve Anderson (Kylie Minogue’s Confide In Me and her music director). With its uplifting emancipatory lyrics the song became a massive radio hit and firm club favourite in the discos of Madrid, Barcelona, Ibiza and the Costa Del Sol. Soy Como Soy is an electronic pulsating anthem full of fire – the sort of energy that had fuelled her first single Despierta. It would later be covered by the British girlband Ultra Girls who released it as Girl Will Be Girls.

Nueva Piel remains to be her best album to date. Indeed, I said as much when it was first released (DSTP’s huge review). Its highlights range from Demasiados Besos by Kid Crazy and Sam McCarthy, which sounds like something from Holly Valance’s second album and the Dr.Who Theme, to Te Menti by Patric Sarin (Margaret Berger) which sounds very much like Samantha. One of my favourite tracks was the summery Siempre Sale El Sol by Australian writers Michael Szumowski and Josh Pyke. Michael Szumowski, from the band Indecent Obsession, of course produced Bardot's Poison and Josh Pyke has had massive success in Australia with The Lighthouse Song. Like her first two studio albums, Nueva Piel inevitably included discreet covers that her A&R team loved to select, such as the beautiful cover Lo Siento, Culpable originally by German singer Christine Nouri and Seremos dos o será un adios originally by Susannah Kay. However compared to her three previous albums, which were festooned with covers, this release contains relatively few. Other worthy mentions are the stunning mid-tempo schlagertastic Alguien Como Tú (co-written by Daniel Volpe, Eric Palmqvist and Thomas Lipp) and No Vuelvas A Mí which was written by Par Westerlund and Jorgen Elofsson.


By carving out her position as one of Spains high priestesses of Pop and dance, it was clear Nueva Piel restored Edurne as a name to be reckoned with on the radio charts, establishing a sound crossed between Kylie and Agnes Carlsson of Sweden. She would venture further into the dancefloor realm once album promotion for Nueva Piel wrapped-up by working with DJ Brian Cross on the club track More Than A Lover. So, it seemed unusual when she released her latest album Climax last year, which was a clear attempt to somehow jump on the addictive rock-pop sound of Pink. Indeed, Michael Busbee, who wrote Pink’s smash hit Try, eventually ended up writing a number of songs on the album that its producers Pablo Navarro and Simon Nordberg had textured with a guitar-pop sound, popular in the heady days of Ashley Simpson. However the problem with Climax was that the rocky feel didn’t sit well with Edurne’s vocals. Most of the songs were devoid of quality, while the vocal production was an absolute mess. It is difficult to hear Edurne screech through the album as she tries to rock out like she’s some Guns and Roses tribute act. Unfortunately she not only howls but growls. The rock production and direction of the album did not suit Edurne’s voice in any way, shape or form. 


Despite the mess there are some redeemable moments. The first is written by the Swedish team Dubbelman, Niklas Edberger and Marriette Hansson, who many will know as the popstar Maryjet who recently worked with Ace Wilder. The song in question is Viernes (originally titled Weekend) and seemingly recorded for Marriettes debut album (to hear more from Mariette check out Scandipop here). The second is Me Rompiste El Corazon, co-written by the great singer Marlene (Indian Summer, Bon Voyage, Stay Awake). Lastly, Finish Line by Charlie Mason, who of course wrote the amazing Eurovison winner song of 2014 Rise Like A Phoenix, and Jonas Thander (Zazou, Hansam, Sharon Doorson). Finish Line is the album's best track. The moment the listener hears the opening lyrics by Mason “shivering inside a private December….then the warrior me awoke rising like a phoenix from the smoke”, you know you’re strapped into a ride of an anthem. Sadly, like all the songs on the album, the overlaid rock production is messy and Edurne fails to convey the strength of Masons lyrics. What is key about Finish Line is that such is the level of quality of the song, it survives intact even despite the exec producers' rock antics. This is purely down to its composers. Charlie Mason's lyrics bounce out like one of those amazing Melodifestivalen classics that ended-up becoming a winning Eurovision song for Sweden. Moreover, the tempo and Jonas Thander's melody's highs and lows combined with Charlie’s pentameter reveal it as a marathon of a song. As such it has the kind of electric energy that any sporting event could use as its anthem. A great pop song that shakes off the attempt to laden the track down with messy drums and guitars. How can you deny the lyrics “cutting down through the noise, a familiar voice from the finish line telling me to try!”. Not to forget the glorious crescendo of music which is wrapped around Mason's stunning uplifting couplet “If I’m humbled, If I stumble. Won’t give up again”. Amazing.

Despite those three tracks, on the whole Climax was a complete and utter misfire in A&R and management and it consequently failed to ignite the Spanish charts. The lead single Pretty Boy bombed as well. While it attempts to repeat and convey the same message of Shania Twain's epic hit That Don’t Impress Me Much, the lyrics are offensive and appear to attack boys who wear make-up, eye-liner and “girlie-jeans”. Oh yes. Edurne thinks she’s ever so gritty as she snarls out the line “you get mistaken for a girl” and “you’ve never kissed a girl, you’re just a big talker”. It gets worse. The subject of her song is not only called “prissy” but is chastised for having "perfect little hands that are always kept nice” and bullied for being a "high fashion know-it-all” whose “favourite phrase is "OMG, that’s so Hot" and wears women’s clothes. Pretty awful. 

Now I’m sure offence was not intended but the blunt insults and barbs remain. Interestingly, on the Itunes edition Sony Records decided to include a Spanish version as a bonus track that was re-titled Artificial and which omitted all pretty offensive lyrics. Instead the subject was simply a very superficial and narcissist object of affection. Gone were the sly attacks on a boy who liked to wear girlie clothes, make-up and was interested in fashion. Instead the Spanish version became a carbon copy of Twain’s Don’t Impress Me Much and Carly Simon’s You’re So Vain. Unfortunately though, the better Spanish lyrics do not save the song itself. 

Putting aside the three good songs, Climax was nothing other than a bold move for Edurne and her label. Sadly, a poorly executed one. Spain is a highly competitive pop arena and with Nueva Piel it looked like she had carved out a niche for herself and a successful one too. The misplaced rock production seems to have taken out the steam and direction of Edurne’s development as a pop artist. She changed management in the middle of Climax's release but I’m not sure this will essentially resolve the problems caused by the album. While her fellow Operacion Triunfo contestants such as David Bisbal, Rosa Lopez, Bustamante, Nuria Fergo, Chenoa, Soraya, Gisela, Natalia, Ainhoa, and Veronica Romeo have all developed their sounds, matured and progressed as pop acts, Edurne’s Climax could’ve been released years before her debut album. 

Since the release of Climax Edurne has been pushing herself once again on TV reality shows and featured with Olly Murs on a iTunes bonus track, singing the Spanish lyrics to Hand On Heart. As a big Edurne fan, I can’t wait to see her next move. For sure, Climax was disappointing but overall her body of work reveals outstanding pop music that has utilized some of the best songwriters the US, Scandinavia and the UK have to offer. It would be awesome to see Edurne pick up where she left off with Nueva Piel and sing the songs of Gustav Effraimson, Steve Anderson, Tina Harris, Fredrik Thomander, Sofia Bernston, Savan Kotecha , Par Westerlund, Cutfather and Johan Boback. Ultimately, Edurne has consistently released some of the best European pop in Spain from her very first album to her fourth (probably best to avoid the third and fifth albums). I hope she once again teams up with those writers and producers who not only gave her radio hits and pop anthems but also pushed Edurne in the right direction. All eyes on Edurne! Her future is in her hands now. 



***
The Definitive Introductory Ten Track Edurne MixTape
(Must-have songs to download by Edurne)
Soy Como Soy
Los Angeles Tambien Pecan
Algo Cambio
Sin Control
Siempre Sale El Sol
Ojos Que No Ven
Despierta
Entre El Alma y La Piel
Alquien Como Tu

*** 


SPANISH POP SEASON! MARTA SANCHEZ!




With the summer sun setting on the summer horizon, DSTP is taking this opportunity to celebrate the legends of Latin pop. Many will naturally know of Jennifer Lopez, Julio and Enrique, but this “season” DSTP is going to scrutinize Spanish and Latin American popstars. The scene is a rich tapestry that is one of the largest music markets in the world and produces some beefy fabtastic slices of pop that rivals their northern European rivals. And yet the British charts rarely feature Spanish and/or Latin acts preferring to opt, if ever, the tolerance of novelty singles from Ibiza. I came to love Spanish pop music initially via very a cold detour: Scandanavia. It has always been my obsession. ABBA, Army of Lovers, Cardigans, Robyn and Lena P. As a consequence, I became obsessed with the songwriters and producers behind the anthems. I’d instantly forget about the import fees which had the tendency to eat up up my pocket money usually during reading the linear notes of the CD sleeve. I travelled a lot to Spain as a kid and I discovered that Swedish songs were all over the albums. With that, I was addicted. So, I wanted to do few updates that recognized some of the Spanish popstars that soundtracked my childhood, teenage and adult years. Lets get on with it! Ole!

 Lets start with Marta Sanchez! Pop queen of Spain and beyond. Marta began her career in the huge Spanish group Ole Ole. She replaced Vicky Larraz and never looked back. I remember Marta sizzling in Ole Ole videos during the 1980s and couldn’t wait until Marta decided to go solo which she eventually did in 1993. Her first album Mujer was produced by Italian-American Christian De Walden (The Three Degrees -When Will I See You Again). It sold buckets due to its lead single Desesperada (Desperate Lovers) entering no.1 in the Spanish and Mexican single charts as well as no.9 on the USA Billboard Latin charts. Marta teamed up with Christian De Walden again for her second solo album Mi Mundo (My World). This saw Marta begin to write on the album (Am I Crazy) and is considered a much more personal piece of work compared to her debut.

The album also included the emotional power ballad Tu Tambien (I Can’t Change) which was about AIDS and Marta’s loss of a close friend to the disease in 1994. It is one of the albums’ most amazing moments not solely down to its message but also Marta reveals a gospel-like vocal. Still get goosebumps twenty years from first listening to it. My World/Mi Mundo is still one of my favourite pop albums of the 1990s. Sounding like Kylie Minogue’s first Deconstruction album, Impossible Princess and Madonna’s Erotica and Bedtime Stories, Marta sashayed into the world charts with her second album not only smashing Mexican & Spanish charts but also exploded all over Latin America.

Azabache/One Step Closer would be her third album and is one of her biggest. With the increased exposure of her second album, Azabache saw Marta collaborate with Slash, Nile Rodgers, Camus Celli and Stephen Budd. The album also included the world hit Vivo Por Ella which was a duet with opera star Andrea Bocelli. The lead singles Moja Mi Corazon and the aforementioned Bocelli also entered high in the Billboard Hot Latin Tracks chart. Using the momentum of Azabache she quickly returned to the studio and a year later came out with Desconocida/Perfect Stranger and again returning to team-up with Christian De Walden who produced the album. Perfect Stranger included one of my favourite Marta Sanchez singles – the title track. 



Infused with shimmering Bollywood sitars, Perfect Stranger was an ode to the beaches of Goa. To those new to Marta, the best way to describe Perfect Stranger is to draw similarities to Kylies Did It Again released in the same year and Nelly Furtado’s Powerless (Say What You want) released some 6 years afterwards.  After releasing her first greatest hits package she took a 5 year break from the recording studio due to family issues. Marta returned and signed to a new label. This time pop was back. Cher’s 1998 Believe and Jive Records ruled the radio world with their sublime combination of Britney and Max Martin whose albums constantly topped the charts. Not to mention Kylie’s return to pop after her Deconstruction years. She teamed up with Parlophone to release On A Night Like This, Spinning Around, Love At First Sight and of course the mighty Can’t Get You Out Of My Head.  The second single from Marta's comeback album was the title track Soy Yo and it took notice of what was topping the charts in the US and UK. Written by Paul Barry and Mark Taylor (Cher, Enrique Iglesias, Britney Spears, Diana Ross, Tina Turner, Kylie Minogue), Soy Yo was huge. It was a clear bombastic disco-pop dance anthem that seemed like the missing link between On A Night Like This and Believe. 


The album, Soy Yo, also included a beautiful cover of Martina McBride’s Concrete Angel and in many ways reflects the mood of the album. It is a dramatic love album – despite the pop dance emblem of the title song. The polemic No te quiero Más illustrates this – with its soaring strings and glorious orchestral crescendos.


It wouldn’t be until 2007 until Marta Sanchez released her first big pop dance album – Miss Sanchez. Produced by the dance maestro Carlos Jean, it really was the album that the Barry/Taylor poptastic single Soy Yo promised. Indeed, the first track Levantate is Soy Yo part two. The album was dipped in layered and lush electro synths reminiscent of Kylie’s X & Aphrodite albums not to mention Madonna’s Confessions. Under the guidance of Carlos Jean, it still was distinctly a Spanish affair with collaborations with legendary iconic acts Alaska and Tino Casal. Sadly there is no English translated equivalent but it could’ve easily found a market In Europe and the States. The lead single featured the Depeche Mode sample that would launch The Saturday’s a few months later. Any song could’ve been singles such was the strength of Miss Sanchez. One of my favourite tracks is High Energy with its sexy flicks and sultry baselines it doffs its disco fascinator to every Giorgio Moroder song that ever released. Another two favourite songs came from Swedish origins – the previously mentioned Levantate was co-written by Peter Hallstrom (Sarah Dawn Finer) and the amazing song Reina De La Radio was a cover of the song Now That I Found Love by Swedish Idol winner Agnes Carlsson (Release Me). Martas’ version is a pretty much completely different song that celebrates disco and is a lot more uptempo than its northern sibling. With its album sleeve drenched in rainbow hues and hunks surrounding Marta in a studio 54 setting, Miss Sanchez is not one of the best party pop albums to come out of Spain but also a fixed soundtrack to every Gay Pride fiesta since its release in 2007.




After touring Miss Sanchez, Marta collaborated with Carlos Baute on the song Colgando En Tus Manos. It was huge . Selling over 400, 000 copies it was clear there was an audience out there that wanted to hear and see Marta duet with other artists. As such Marta embarked on her next project which was a greatest hits but with a twist. De Par En Par would include collaborations, duets and feature new songs that leaned towards the jazz genre. There are some real highlights on the album and it makes an interesting listen as Marta re-interpreted her hits reworked with dashes of Cotton Club swing and soft-pop jazz. One of the strongest moments is her jazzed-up Soy Yo with Nena Deconte and a stunning re-imagined version of Desconocida with the amazing Spanish singer Vega. The project also featured duets with Swedish singer Emilia De Poret (This Ain’t A Love Song) and James Morrison (Broken Strings) produced by Arnthor Birgisson (Leona Lewis, Celine Dion, Ask Embla) and Mark Taylor respectively. Despite lukewarm reviews the album was an interesting way to celebrate her 25 years in the music industry and is well worth investigating.

Marta has been working on her follow-up to Miss Sanchez for some time now and in the meantime she’s been busy releasing one-off singles, promoting, touring and being there for her family. On the big wide web, you’ll find Marta performing one-off and stand alone songs such as Made In Spain, Rhythm of The Night, Mi Cuerpo Pido Mas, Get It Up, Whatever It Takes, Too Hot To Handle and Sweet Lies – a ballad rumoured to be the next single. My favourite? I'm rather partial to Made In Spain and Too Hot to Handle. Both anthems bring her back to the disco dancefloor. I loved her excursions away from the pop genre but I get the sense that Miss Sanchez delivered what Marta's fans always wanted her to and they want a follow-up. Moreover, it also feels like her comfort zone. Indeed, for me the most exciting recent releases from Marta have been two anthemic melody-driven pop songs written funnily enough by uberpop Swedish producers. 



Those were Get Together in conjunction with the drink brand Bacardi and mighty diva collab with Monica Naranjo and Maria Jose Hasta El Fin. Both bulky in melody and heavy baselines, Get Together & Hasta El Fin have not only become fan favourites in Spain but have also picked-up interested outside of Spain. Marta is a perfectionist in the studio, delivers wild stage shows and her albums have shaped the last 25 years or so in Spanish pop music. I can’t wait to see and hear her next move. Gracias, Marta! Gracias por la musica!



***
The Definitive Introductory Ten Track Marta Sanchez MixTape
(Must-have songs to download by Marta)

Soy Yo
De Mujer A Mujer
Such A Mystery
Hasta El Fin
Desesperada/Desperate Lovers
Perfect Stranger
No Te Quiero Más
Levantate
Profundo Valor
Lilí Marlén

THE BIANCA INTERVIEW


Bianca Claxton needs no elongated introduction to pop lovers. She is nothing but pure pop. As she embarks on releasing her debut single & corresponding album, DSTP thought it only sensible to sit down & interview her about her exciting collaborations, Sweden, Aqua and legwarmers.

You've been busy recording nailing your sound. What was the moment when you  the feel of the album was realized?

It's definitely a gradual process creating the sound, but it did feel like all of a sudden, the music instantly started to come together and make sense. We got a few songs back from writing and recording sessions that all really worked together and it felt like we had some really strong quality songs and single contenders. That's when it started to get really exciting for me.

So, I've heard few of the songs....You've been working with Emma Rohan, Biff and Steve Anderson...Of course who have written for Kylie. What was it like going into the studio as a solo star with them?

It was such an amazing opportunity. To be in the same room writing and recording with people who have created some of the most incredible songs ever is such a privilege. I've had so much fun working with all of them and we have a right laugh in the studio. I'm so proud of all the songs that have come out of those sessions. 

There is a huge vocal feel in a lot of the demos (I'm thinking Lovelight for instance here). The sound has aspects of big hair Whitney, Annie Lennox and PWL-Kylie. BiancaWorld is very much about that 1988/1987 sound. Was that intentional?

Definitely. I am such an 80's geek, and it's been really essential for me in writing this album to capture the feel of what was great about music back then, but to also make it feel contemporary and still relevant for today's market. I definitely have to reign my inner 80's self in sometimes! 

I love that we're hearing that big vocal you've got over and inside the pop demos you've been working on. Did you utilize that Royal Academy training during the sessions?

My vocal training definitely helps in the songs that have long sustained phrases and higher notes throughout. Some of the songs on the album are definitely a right workout for me so it's important to use proper technique and not do lazy singing, otherwise I would batter my voice! 

Have you been primarily based in the UK, or are there plans to record in Europe/US?

I've done the majority of the album in the UK, but I went out to write and record in Sweden with amazing writers and producers such as Quiz & Larossi, Fredrik Berger, Holter & Erixson, Anders Hansen and also lovely Sharon Vaughn. It was great to be out there to write because they do pop so well and it was great to get a couple of really fun pop songs to go on the album from over there. A US writing trip is definitely on the cards as well as i’d love to work with Billy Steinberg, Diane Warren and Linda Perry - total legends!

Yes! I could so see Lovelight and Invisible being huge in Scandanavia and yet also Asia. Will there be any nods to Kpop on the album?

Yeah Lovelight definitely has that Scandinavian vibe! K Pop - i'm not sure i’d be able to carry it off as well as them! I love how visual exciting their videos are, so maybe I can bring a bit of that into mine!

Oh my god, talking of scandipop wasn't it true Aqua's Barbie Girl was your first record you ever bought?

Indeed it was. I remember it being my jam at school at the time. I still love it though. It's definitely a bit of a guilty pleasure that one. 





Have you and your team identified the lead single yet? I loved Lovelight. But there is so much more! Its totally legwarmers and yet has that beautiful vulnerability to it.  Its Annie Lennox meets Robyn. 

We do have a lead single that will be going up online v soon. It's a fun pop tune with a little bit of a retro disco vibe. I co-wrote it with Anu Pillai (he wrote and produced Ladyhawke’s Paris Is Burning) and also Ali Love from Hot Natured and I love it. I might try and incorporate some legwarmers into the video!! 

They say a strong pop song is measured in how quickly  it takes to get its chorus and its middle eight. LoveLight.is.such.a.popastic.song!! Not time wasting - straight out of the cannon.

Lovelight was one of those songs that pretty much wrote itself. Myself, Emma Rohan and Steve Anderson were listening to a few of those big old 80's tunes and Belinda Carlisle 'The Same Thing' popped up and became a real inspiration for this song. Lyrically, we were thinking about that moment at a festival where complete strangers are united in an artists performance and nothing else matters but living in that moment and enjoying where you are right then and there. 

You're pretty much midway through putting together your album. What were the ups...

Writing with such amazing people such as The Nexus, Steve Anderson, Anu Pillai, Hygrade and the guys in Sweden has been a real highlight. It's also been so much fun to have the freedom to write and sing about whatever you want and to have so much creative control. When the sound really started to come together and we had some really exciting songs that all made sense, that was a definite up moment!

and downs? 

There haven't really been that many downs to be honest. I think when you're lucky enough to be able to write and record and do what you love, it's hard to find many negatives. It's definitely a long, hard process trying to create exactly the right sound, but when it does come together, all the stress that came before trying to get everything perfect instantly gets forgotten and it makes it more rewarding that you worked so hard to get there. 

Looking to the lyrics to Heart on Black it seems you address some of the challenges set by the music industry. Is that right? Its very much "a must get this of my chest" song. Your confessional. 

Definitely. Heart on Black is without a doubt one of my favourite songs on the album and one of the songs I'm most proud of. It's so true to the experiences I've been through in this industry, but I also think lyrically it is relevant to anyone in any walk of life who is working hard toward something. If i'm ever feeling stressed, I whack Heart on Black on and it kicks me back into shape!

So if you could offer any advice to someone entering the industry as a performer what would be your first thing that springs to mind?

It's such a cliche, but it would be that you have to believe in yourself otherwise nobody else well. It's such a crazy, intense industry and you just have to keep your own head, have faith in yourself and never take no for an answer. 

What living artist(s) inspires you the most? And has influenced the sound going into the studio?

I'm such a massive fan of Pat Benatar and she is an artist that has always inspired me. Obviously another huge one is Madonna in the 80's and 90's. She is one of those artists that never felt the need to conform to what was happening in the industry around her and was always unique and true to her own sound. I'd like to be able to capture essences of both of these artists in my own music. 


To those who didn't know, you were previously in the UK band Parade. Fans in the UK have wondered why that chapter came to end.....

It just felt like the group had reached a natural end to be honest. After Louder went in the Top 10 of the UK single chart, we worked really hard and got the opportunity to do lots of amazing gigs and tours. We were together for 3 years in total and had so much fun, but all good things do have to come to an end, and it felt that the group had achieved everything it could and it was time for us all to try something new.  
Did you simply have a moment when you just wanna be a solo singer? 

It wasn't really a decision about being a solo singer or not, it was really about the fact that Parade felt like it had come to a natural end and it was time for us all to start a new chapter. It wasn't until after the group came to an end that I actually sat down and had a serious think about what I wanted to do next, and felt that I wanted to have a go at making an album and trying to do a solo record. 

Scandanavian states supports the arts (especially young musicians). Do you think this government (and previous ones) does enough to assist young musicians and artists?

I think it's really easy to sit and say that this government could do things better. There is definitely a different attitude towards the arts and music in Scandinavia than there is here in the UK, but we are so lucky to have such strong and inspiring artists, producers and musicians in this country. I feel like here in the UK, we are setting the standard for music all over the world. The UK music scene right now definitely feels like it's setting the trend rather than following it - particularly by looking at the success of British artists breaking over in the US.

I mean you really get the sense of how important pop music is to...say sweden...with its amazing ABBA museum which has recently built alongside the Swedish Music Hall of Fame. Would you like the same to be established here in London?

That would be amazing!!! We have so much musical history in the UK that I think we could create something really incredible that people from all over the world would want to see. Yes, I did visit the ABBA museum and I had so much fun. I was like a kid at Christmas. Being that close to the outfits they wore in the videos and on stage, I thought I was the fifth member of the group at one point! Haha. 

And lastly, the BBC has an amazing product in the form of Top of The Pops. That could highlight the most important chart-breaking tracks sold that particular week and the importance of British musicians that you mentioned. Do you think its time to bring it back rather than let it pick up more dust. I mean Top Of The Pops 2, its archive show, is gonna soon run out of golden oldie footage to show. They is gonna need to recommission the show sooner or later!

I would love them to bring Top Of The Pops back. It used to be the highlight of my week when I was growing up. Back then it was about the only chance you got to see your favourite songs from that week performed by your favourite artist. I loved it!

If they did - what would be on your rider? And how many dancers would you have?

If they did, I wouldn't be particularly demanding with my rider. Just lots of bottles of water, a kettle, and maybe a cheeky bag of sweets! I'd love to have loads of dancers if I was on Top Of The Pops, but I wouldn't want professional dancers doing routines, I'd just like to go out and find loads of normal people of all ages and sizes and just have a massive rave and party on stage. Basically just have loads of fun!

The Steve Anderson Interview 2014!



2012 saw the AntiTour, K25 and Abbey Road. It was hectic but also celebratory year tocelebrate Kylie and, critically, her songbook. 2 years on, what do you make of k25?

I loved every single minute of it - there are so many of my best memories associated with that year from being lucky enough to make a record at Abbey Road , the Proms performance which was a real highlight and of course the Anti Tour which we all hold so dear to our hearts. It was the most warmth I’ve felt in a room of strangers in my entire life and she had an absolute ball. It was the perfect way to celebrate 25 years and herald the beginning of the next 25.

I have to ask, will we ever hear the studio version of That's Why They Write Love Songs?

There is one and you never know one day it might appear on a Special Edition of a CD as a bonus track but that would be up to the label. We’ve let it out to play a few times live and it holds a special place for us - you never know - one day it might appear somewhere...

Talking of which how is the Kylie musical coming along? Is it still in the development stages?


These things take time, that’s all I’m saying.

Looking back, you've done Rent Remixed, The Hurly Burly Show, Little Belter, Viva La Drag , Orchid and the new amazing show starring Denise Van Outen Some Girl I Used To Know written by Terry Ronald (writer behind Becoming Nancy). Bit by bit the glare of the musical and stage are taking hold - what has been the key attraction that has drawn you to the West End?

I’ve always loved West End and Broadway theatre (can’t you tell!) but to me its not that different from putting on a huge arena show. Its about entertainment and really focusing on the audience being with the show all the way. I’m incredibly lucky to work with a close team of amazing people on most of these shows and it helps we are all really close friends too. William, Terry, Ashley and I have known each other forever so its just second nature when it comes to putting on a show - first and foremost it has to be fun for everyone even though we are all incredible perfectionists. And of course it was inevitable we would all end up working on a world class drag show! One of which we are all very proud of mainly due to the incredibly talent of the girls and their superb voices.


In many ways - the difference between a club and a musical is you can swing from mirrorballs in one and chandeliers in the other. Through your stage arrangements, your remixing but with a different intention? 

I’ve always said that remixes are just the new name for traditional musical arrangements  - its taking the song and making it fit within the remit of the show which can sometimes mean not changing it too much and others totally reinventing it which we did a lot of in “The Hurly Burly Show” especially changing something like ‘Bad” into a sleazy big band jazz number. I’m massively inspired by the creative vision on all of these shows and probably none more so when it comes from someone like William and especially Kylie for her shows.

I mean, Denise sings an amazing version of Sonia's You'll Never Stop Me From Loving You in such a way that deconstructs not only the song but the way you perceives the pop song. Was that the way you wanted it to be?

The story there is I knew Denise loved that song and she kept bringing it up. Terry was adamant that it was wrong for the show so one morning before we had a studio session I put together an arrangement for it and surprised her with it later that afternoon. Her face absolutely lit up - she recorded the vocal that day and Terry just turned round and said ‘that’s got to go in the show!”. I have so much love and respect for what Stock Aitken and Waterman did and beneath all that processed pop are some beautiful melodies and lyrics which can be allowed to shine even more when stripped back. Her vocal on it is extraordinary and the first night she performed it Terry just turned to me and said ‘dear - its happening!” . It always gets a massive round of applause.

Now when I first heard it, I was immediately reminded of the genesis behind Kylie's new version of Never Too Late!

I think “Never Too Late” is much more delicate. Again the extraordinary brilliance of Stock/Aitken/Waterman songwriting and one of the most tender and beautiful vocals Kylie has ever performed. I knew that “You’ll Never Stop Me From Loving You” had to go big at the end as boy does it!



Indeed, the entire album? How was that experience? With Kylie & Cliff Masterson?

Abbey Road was probably the most satisfying and brilliant recording process I have ever been involved with. I loved going to work everyday , it never got old pulling up in front of that beautiful building and signing in (its a tradition everyone does). We filled Studio 2 with our amazing band , singers and orchestra for 3 weeks of amazing memories. We had previously work-shopped and rehearsed all of the songs so it was all about getting them recorded well. I still think Kylie’s vocals on that record are amongst the very best she’s ever performed and we had a blast doing it. Also it was great to work with Colin Elliot (who I had admired for a long time especially for his Richard Hawley productions) and as always with the brilliant Cliff Masterson who has the best sparkly baton in show business!

Were there any songs that the list of songs you all wished to do but then didn't quite work out in the recording stage?

Amazingly no - we had a a great two week workshop rehearsal and the ones that seemed most natural within the new sonic environment worked out perfectly.

And with the AntiTour? What songs, if any, just didn't quite cut the mustard during rehearsals?

Again none - in fact we kept adding as the tour went on - by the time we got to London it could easily have been a 3 hour show. We all knew it was a one time only thing so the more we could cram in the better!

What was that like to be in the same rehearsal space as where Intimate & Live was rehearsed?

Absolutely amazing not only because of that but its the warmest, loveliest rehearsal space I’ve ever been in. Obviously the sunshine and staying in my adopted second home of Melbourne really comes into it plus so many memories of the first band rehearsals I had ever done in my life back in 1998 for I & L. 

You are currently working with the new artist Harriet in-between your work with Kylie, Susan Boyle and Leona Lewis. You can hear interesting correlations between songs & the arrangements you've done with Kylie (including the likes of Come On Strong and You Are There) with Harriet. Where do you similarities between the two artists come from?

I think certainly the Abbey Road side of Kylie is present in the sound of Harriet’s music, its very organic and very much driven by what inspires her and the sound she has dreamed of making ever since she grew up in a house full of music predominantly from the great singer/songwriters of the 70s such as David Gates. Carole King and Stephen Bishop. What I love about Harriet is her voice stops people and makes them listen , really listen to the lyrics and melody.  Judie Tzuke said that it sounded like it was from another place and time so we wrote a song about that called “Whats Mine Is Yours” that addresses it ‘some part of me has been here before, you can hear it in my voice’. Its so true, What makes it even more fascinating is that she’s so young and incredibly beautiful that when the voice comes out people are genuinely taken aback. We’ve pretty much written an album together and I can’t wait for everyone to hear more as this year progresses.

How would you best describe Harriet? And what did you make of that voice when you first heard it?

I would say she a contemporary old soul , by that I mean as much as she adores everything about the great artists of the 70s she’s just as much at home listening to Drake or Daft Punk and her look and style is absolutely now. A lot of the time when artists reference something from another time its because they fall out of love with the now but this couldn’t be further from the truth with her. I do remember the first time I heard her voice it stopped me in my tracks and I knew I had to work with her but it felt so important to me to bring out what she wanted to do rather than impose any idea of what I thought she should be. It just so happened they were both the same thing so it worked perfectly. I always say play to your strength, if you love something then embrace it no matter how many people tell you that you should be doing something different - you can be completely true and it might take longer to get there but at least when you do you’ll know its not down to a massive compromise.



How is Harriet's album is slowly coming together?

I think it will appeal to fans of everyone from Carole King to George Michael. Its an album of beautiful songs arranged really organically but with an eye on pop appeal rather than just musicianship for the sake of it. In one word, honest.

Harriet is also working with Cliff Masterson for her album. Both you and Cliff previously collaborated on Susan & Abbey Road so what can we expect from Harriet's work with Cliff?

I’ve worked with Cliff as a collaborator on string arrangements for far too many years than either of us would care to mention now - we have that thing where we don’t really have to say it now as one knows what the other is thinking. However the Susan album was the first time we co-produced and we both loved it. Susan is so much fun and when she hits those vocal moments in the studio its like that first time on BGT every single time! I’m thrilled with the first songs Harriet and Cliff have written together - can’t wait to hear more.

I am taking some time to absorb the latest Kylie album - I know. Its certainly unlike her previous releases. My favourite two tracks are the title and Mr President. Quite different in style and yet both very "Kylie". 

I think there are some incredible hooks and melodies on there - whether everyone likes every track or not its undeniable that they won’t be able to get them out of their heads (sorry). For me I think the song “Kiss Me Once” is one of the best things she’s ever done - its beyond glorious and the chorus just explodes, loved it from day one. I also really love “Mr President” as i think its so her , “Sleeping With The Enemy” which is sublime and of course “Into The Blue” which is the first one she played me and I adored it from then. 


Which recorded KM song was you most disappointed when you’d seen it hadn’t made the final tracklisting …..

The thing is - if the tracks are really good they always find a way of sneaking out one way or another. For instance I really love “Sparks” which isn’t on the “KMO” album but is on a limited edition version. Going back I always wished “Love Is Waiting” was on KM94 but again it ended up on a rarities disc so all good.


Gosh, What I LOVE about Love Is Waiting is that amazing vocal especially at the end (with terry ronald doing the vocal prod on that!). Epic. Looking at the Steve Anderson songbook, you work with artists who use their voice at the very essence/art. Whether its Harriet, Kylie, Leona, Susan or Mark...there is always familiarity of tenderness conveyed in the way sing……

I’m all about vocal performances - its the essence of the record for me and the most important thing much more than technicality is believability. I’ve been incredibly lucky to work with such an incredible selection of singers over the years and that human emotion is what I think really touches people especially in an age where the record buying public are often mistrusting of some of the technology used in vocal production. The one thing that can’t be digitally manipulated is emotion and believability and thats what I strive for with any performer I’m producing. My biggest inspiration for this was Phil Ramone who sadly passed away recently just after completing work on George Michael’s “Symphonica” album. He produced everyone from Frank Sinatra to Amy Winehouse but reading his book it was fascinating to see how much emphasis he placed on making sure the artist was completely comfortable and in the right moment to sing. People don’t realise that even though it may only be 3 or 4 takes, records last forever so its actually some of the most important moments in an artists career when they are in front of that mic. Everything has to be right so they can almost go outside of themselves and deliver something magical. Its like stardust, honestly it is. Especially with Kylie, there is often one take that seems like its from another world - it comes out of her mouth perfectly formed and totally true and that’s one of the many reasons I love my job and never for a moment take it for granted how lucky I am to do it.

Actually how is Mark's new album coming along?

I’ve been friends with Mark for a long time now as I worked on a lot of Westlife tours. There was actually a song on one of their albums called “Talk Me Down” which I produced and featured Mark very heavily - it was then that we started writing together and when the band split up we put some sessions in to start seeing where the sound would go. I really don’t want to give too much away at this stage but I will say its probably the last thing people are expecting, Its very honest and comes directly from him plus of course he just happens to be my favourite male singer in the world so the vocals are extraordinary.  




Developing his sound as a solo artist....I really appreciate he's taking his time...thats been really important for Mark right? 

Exactly - I think people are sometimes in too much of a rush to get things done and out. He wants to make an album he’s incredibly proud of and one that his existing fans will hopefully love as much as a new audience. I love perfectionists so we get on really well - when its ready its ready but I would say it won’t be too long now. I can’t tell you how excited I am for people to hear it.

How do you bring the skills you've learnt on the road with KM, Westlife and Leona and their tour arrangements.....to your work with the likes of Harriet who are just entering the industry?

Its all about a love of music and entertaining. Every situation is different but essentially its people in a room hoping they click creatively and what we call ‘daring to suck’. Meaning that writing a song sometimes with a complete stranger for the first time is one of the most harrowing experiences you can think of but once everyone realises they are all gong to come up with a bunch of really bad ideas but in the middle there will be a gem that’s fine. Regarding new artists I don’t really treat them any differently to established ones as we are all learning all the time. A new artist can teach me things just as much as I can teach them, This is why I have such a passion for new music and continually blog and tweet about ace new music because that’s where the inspiration comes from. I have never tired of the feeling I get when I hear something for the first time, fall completely in love with it and can’t wait to play it to my friends, This is why I adore doing the radio show with Larry Flick on Sirius. I get to share new music and if just one person picks up on it and finds something they can fall in love with that is the best feeling in the world.

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How does the song-writing process work for you? It seems a very collaborative affair for you. Does the artist present the lyrics and you mount a melody over that or is it more messier. I mean where did Can I Keep You (free download here) come from?

Its always different - sometimes it can be a musical idea or in the case of “Can I Keep You’ it was the title plus the fact we’d written two songs that fitted with what we thought we should do so we let ourselves off the hook and decided to try and write a more traditional song structure so not verse, bridge , chorus but more two rounds of one melody , once bridge section then back again - a lot more like standards are written. Then it was about making sure the words really delivered as those songs can so easily drift into Hallmark Cards schmaltz - they had to be honest, true and heartfelt without being cheesy. Luckily that one happened quite quickly - a lot of the best ones do - like you’ve had it there for a while and it just flows out. It really is different every time though.



Was it initially a song she wrote about her mother - I mean have you see the fan video online? Even if it wasn't written about her mum it relates and conveys. That's what i love about songs like Can I Keep You or Flower - they can mean so much to the songwriters but once those songs take flight - the listener rewrites them into their own narrative. Its quite magical how that happens.

I think you are absolutely right - every song means something different to every person. “Can I Keep You’ could be about a mother, about a baby or it could be the perfect wedding song. Its so important to let the listener define how it affects them emotionally as that way each one will find their own connection with it.

That triangle between the artist, audience and label has always intrigued me and recently undergone huge developments. The British music industry has become streamlined in recent months. Indeed, a lot of capital stems from streams and the dust appears to have settled from the loss of EMI - the last British label. The majors are now either French (Universal), American (Warner) or Japanese (SONY). What do you make of the future of the music industry in the context of the breaking artist/writer?

Thats true but I think that the UK still has some of the best A&R talent in the world and we do make incredible records in this country. Its interesting because years ago people needed record companies to be able to get intro studios to make records - now so much can be done relatively cheaply but people still need help when it comes to promoting and often guiding them. I’m sure artists 20 years ago would love the technology as much as artists now would love the input from a record company. Obviously there are always horror stories when it comes to corporations but I still believe there are some incredibly talented people who just happen to work for someone different than before around today.

How do you think the growth of the label services & the likes of Kobalt?

I’m really interested to see what happens with Caroline at Universal as that’s a superb team of people. Ultimately the artist still needs a source of revenue to be able to pay for the elements a traditional label would have done before. Its much easier for an established artist with existing fan base to go through label services as they can pretty much guarantee their fans will buy whatever the release and go to the gigs. Its a little harder when it comes to new acts but I think both majors and label services can exist side by side for the best of both worlds.

In ten years time do you think the distinction between major and minor label will be as bold as it is today?

I think its all music whichever way you look at it - as long as the cream rises to the top and for every Pitbull there is a Luke Sital Singh I’m happy!

And…..lastly, I’ve always been intrigued with the song Butterfly which you co-wrote with Kylie all those years ago. It was then produced by Mark Picchiotti. Or rather the version we got to hear on LY was the Mark production. How did the original sound? The one by you?

It didn’t sound that different actually - obviously it was a very rough demo from Real World and was a little more piano/strings (of course) but I loved where Mark took it - it needed a more contemporary club sound but he kept all of the gospel backing vocal ideas and the ending etc. Similarly with Johnny Douglas and “So Now Goodbye” . The essence was in the demo but he glitzed it up even more.


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Essential Links
Harriets Soundcloud & Twitter