How we made: Relax by Frankie Goes to Hollywood

‘The Sex Mix got so many complaints – even some gay clubs found it offensive’

I wanted to be provocative with the way Frankie Goes to Hollywood looked and for the lyrical content to be modern and edgy. We had been living through a politically charged time, the Sex Pistols and Bow Wow Wow had made headlines, and I knew we had to do the same to make an impact. I had a vision of something that merged punk and disco. I was always badgering the drummer to just play a four-on-the-floor bass drum.

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Baxter Dury: ‘Everything was about Dad. It was the only way he knew how to survive’

The musician talks about growing up with a pop star dad, escaping his shadow – and the 6ft 7in drug dealer who lived with them

• Read an exclusive extract from Chaise Longue: ‘After a certain point of drinking, Dad’s behaviour became a lottery’

Baxter Dury strolls up to the pub, casually dressed and apologetic. The indie musician, known for his stylish suits, is wearing a white vest and unbuttoned denim shirt. His face is even whiter than the vest. Food poisoning. He ate oysters the other day, and has never been so sick. He orders a pineapple juice and soda water, sheepishly. “That’s going to be the headline, isn’t it?” The 2010 biopic about his father was named Sex & Drugs & Rock & Roll – after one of Ian Dury’s most celebrated songs, and a fair summary of his life.

But we’re not here to talk about Dad, says Baxter, a successful musician in his own right. It’s 21 years since his father died, and 19 since Baxter recorded his debut album, the fabulously titled Len Parrot’s Memorial Lift. Don’t get me wrong, he says, he loved the old man, but he’s got Ian Dury fatigue. He’s tired of the comparisons – their music, voice, looks and lifestyle.

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Big quiffs, zombies and dead crows: the wild world of psychobilly

The turbocharged twist on rockabilly enraptured 80s punks and rock’n’rollers – and alienated plenty more – with its food fights, ferocious club nights and phantasmagoria

If you wanted to date the moment one of the biggest youth subcultures of 80s Britain arrived, you could pick 40 years ago this month, on 4 July 1981. That night, at the Marquee club in Soho, a few hundred kids gathered to watch a band who were almost singlehandedly kickstarting a new wave of alternative music. Waiting for them to come on, those fans launched into the song that served as their heroes’ unofficial theme, from David Lynch’s Eraserhead. “In heaven, everything is fine,” they sang. “You’ve got your good things, and I’ve got mine.” A few months later, that chorus opened, and gave its name to, the first LP by the Meteors. And as their frontman would later claim, “Only the Meteors are pure psychobilly.”

In time, psychobilly – a turbocharged twist on rockabilly, the country-enhanced variant on R&B that prefigured the classic rock’n’roll of the late 50s – would become codified. “My take on it would be a much more aggressive, loud approach to rockabilly that must include a double bass, modern lyrics – no cars, pinups or bubble gum – lots of graveyards, vampires, zombies, horror flick and death-influenced lyrics,” says Mark Harman of Restless, who came through the psychobilly scene in the early 80s. “Anything goes, really. Overdriven guitars and full rock drum kits, big quiffs, weird and wild clothing, makeup and props – blood and skeletons welcome. It should be fast and loud, exciting and fun.”

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Billie Eilish: Happier Than Ever review – inside pop stardom’s heart of darkness

(Darkroom/Interscope)
On perhaps the most anticipated album of 2021, Eilish uses subdued yet powerful songwriting to consider how fame has seeped into every corner of her life

“I’m getting older,” sings Billie Eilish, who’s 19, on Happier Than Ever’s opening track. “I’ve got more on my shoulders”, she adds, which is certainly true. Her debut album When We All Fall Asleep, Where Do We Go? wasn’t just a huge global hit, but an album that significantly altered mainstream pop music. Two years on, streaming services are clotted with bedroom-bound, teenage singer-songwriters dolefully depicting their lives: anticipation for what the genuine article does next is understandably running very high.

When We All Fall Asleep … was an album that turned universal teenage traumas – romance, hedonism, friendship groups – into knowingly lurid horror-comic fantasies, in which tongues were stapled, friends buried, hearses slept in and marble walls spattered with blood. That playfulness is less evident on its successor. It flickers occasionally, as on Overheated’s exploration of stardom in the era of social media, complete with death threats (“You wanna kill me? You wanna hurt me?” she mumbles, before giggling: “Stop being flirty”) or on NDA, where the “pretty boy” she entices home is required to sign the titular legal agreement before he leaves. But the overall tone is noticeably more sombre.

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Joey Jordison, Slipknot’s founding drummer, dies at age 46

Family announce that metal musician, who had transverse myelitis, a nerve disease, died ‘peacefully in his sleep’

Joey Jordison, the drummer whose dynamic playing helped to power the metal band Slipknot to global stardom, has died at age 46.

His family wrote in a statement: “We are heartbroken to share the news that Joey Jordison, prolific drummer, musician and artist passed away peacefully in his sleep … Joey’s death has left us with empty hearts and feelings of indescribable sorrow. To those that knew Joey, understood his quick wit, his gentle personality, giant heart and his love for all things family and music.”

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Bring it all back: why naff noughties pop is suddenly cool again

Perhaps longing for a more carefree era, artists such as Lorde, Billie Eilish and Haim are fondly looking back to when S Club 7 and Shania Twain frolicked in low-rise denim

The turn of the millennium is not generally considered a vintage era for mainstream music in the UK. Sandwiched between Britpop and the mid-00s indie revival, it was a period dominated by talent show winners, girl- and boybands, ex-boyband and girlband members, acts with tie-ins to kids’ TV shows, and doleful singer-songwriters such as Dido and David Gray. It was sometimes trite, occasionally rapturous and – Dido and Gray aside – frivolous, family-friendly fun.

It isn’t, in other words, an era you’d expect a pop star on the cultural vanguard to be into. Yet last month Lorde revealed that her forthcoming third album was influenced by what she calls “early 00s bubblegum pop” – in particular, tween-targeted hitmakers S Club 7, Natasha Bedingfield, Natalie Imbruglia, All Saints and Nelly Furtado. She is not alone – the reclamation of late 90s and early 00s mainstream pop by young artists is now fully under way. Many heard shades of S Club in Dua Lipa’s 2020 album Future Nostalgia, and Lipa’s single Don’t Start Now had more than a bit of Spiller and Sophie Ellis Bextor’s 2000 smash Groovejet in its DNA.

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Suzi Quatro: ‘I’ll never be too old to wear a jumpsuit’

The singer, 71, on enjoying her grandchildren, missing her mum, giving everything on stage and her need for an Ego Room

My mouth is my weapon. I can destroy somebody with a flick of my tongue. I’ve got a sharp wit and a sharp way of talking. I’m not a hitter, but when I’m mad, I’m mad. I scream it out, then I’m done.

Nobody could believe it when I once used the men’s toilet at a petrol station. I was on tour. Our bus had stopped for us to get snacks and use the loo, but there was a huge line for the ladies’ and my impatience is really bad, so I refused to wait. I walked right past everybody, into the men’s, used a stall and came out.

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Amy Winehouse’s 20 greatest songs – ranked!

With the 10th anniversary of her death this week, rediscover the best of Winehouse’s discography, where heartbreak and anger are mixed up with wit and joy

After all its emotional strife, the Back to Black album concludes with a jokey paean to weed. You could construct an argument that Addicted is Winehouse once more tapping into a venerable jazz tradition – it’s easy to imagine Fats Waller singing about someone snaffling his stash in the 30s – but perhaps it’s better to just enjoy its mordant wit.

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Biz Markie, rapper known for Just a Friend, dies at age 57

Hip-hop star known for his personality, beatboxing and freestyle skills scored his biggest hit in 1989

Biz Markie, the New York rapper, beatboxer and producer, has died at age 57.

Markie’s representative, Jenni Izumi, said the rapper and DJ died peacefully Friday evening with his wife by his side. The cause of death has not been released.

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Gaz Coombes: ‘It felt good that life was speeding up’

As Supergrass return to festival stages, their frontman remembers his younger days, from the majesty of Spacemen 3 to love letters via mixtapes

This was a big thing for me: lots of recording off the radio. I’d wait for the chart show, and I’d know that Madonna’s Into the Groove was currently at No 3. I remember that pressured feeling of trying to hit record at the right time so you don’t get too much of the DJ introducing the track, and I’d build up these compilations. I did my own best-ofs – the Cure: 79-82 – or call them things like Dark Trip. I’d draw stuff and then go down to my dad’s office to use the photocopier and cut it all out, and print out homemade covers, getting the tracklisting really nice on the back.

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‘We have a hostility to being boring’: Sparks, still flying in their 70s

Their Adam Driver musical sent Cannes into raptures and Edgar Wright has made an all-star documentary about them. The Mael brothers explain why they’ll always be hopelessly in love with pop

In 1974, John Lennon was startled as he was watching Top of the Pops. He rang Ringo Starr. “You won’t believe what’s on television,” he reportedly said. “Marc Bolan is playing a song with Adolf Hitler.”

This was Sparks, performing their glorious pop opus This Town Ain’t Big Enough for Both of Us. “It was equidistant between the Beatles on Ed Sullivan and the Daleks on Doctor Who,” says Edgar Wright, the director of Baby Driver and Shaun of the Dead, and now a documentary about the duo, The Sparks Brothers. “Fifteen million people saw it. Think of the next generation of bands watching: the Sex Pistols, Siouxsie and the Banshees, Duran Duran, Joy Division, Squeeze, Vince Clarke. They’re all watching and they’re all thinking the same thing.”

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Stevie, Gladys, Nina … Summer of Soul uncovers a festival greater than Woodstock

As the US boiled with violence, 1969’s Harlem cultural festival nourished spirits with soul, jazz and gospel. Now, Questlove has turned lost footage of it into a brilliant, pertinent documentary

It’s 29 June 1969, and at Harlem’s Mount Morris park (now Marcus Garvey park), the 5th Dimension are about to take the stage. The Los Angeles group are already stars, thanks to hits including Up, Up and Away and Aquarius, from the musical Hair, which topped the Billboard charts that spring. But their pop-oriented repertoire, often penned by white songwriters, has kept them off the US’s R&B radio stations and thus from Black audiences. “We’d tried to separate ourselves from the segregation in our society, but we still got caught up in all that,” remembers the group’s founding singer, Billy Davis Jr, today. “And the average Black family didn’t earn enough to come see us at the nightclubs we were playing. They’d seen us on TV, but they’d never seen us live.”

That was about to change with their headline performance on the opening day of the Harlem cultural festival. A series of six Sunday concerts that summer, the festival showcased the cream of the era’s soul, gospel, blues and jazz artists before an audience of 300,000, many from the surrounding neighbourhoods. “I looked out and saw a sea of faces, and their response was so loving, so welcoming and exciting,” says Davis Jr’s wife and bandmate, Marilyn McCoo, for whom the festival remains a treasured memory. She’s not alone. Harlemite Musa Jackson, then just a five-year-old, still remembers how the 5th Dimension’s orange costumes, gleaming in the sun, made them look “like Creamsicles”.

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Super-producers Jimmy Jam and Terry Lewis: ‘Prince sidelined us’

The duo started their debut album 36 years ago, but work for Janet Jackson, Mariah Carey and others got in the way. Now it’s finally complete, R&B’s great studio psychologists look back at an unmatched career

Some albums take a long time to make, but few have had the gestation period of Jam & Lewis: Volume One. The production duo started work on their debut artist album 36 years ago, just as their career was taking off on the back of the SOS Band’s hit single Just Be Good to Me, but they were thrown off-course working for a minor figure with a couple of flop albums to her name: Janet Jackson.

Together they started shaping what would become her 10m-selling 1986 breakthrough Control, which understandably “kind of stopped the progress on our own album”, as Jimmy “Jam” Harris, 62, puts it today, when he and his partner, Terry Lewis, 64, appear on a video call from their homes in Los Angeles. With Control ready to be delivered, they wrote a song for themselves that sounded the perfect calling-card for a Jam & Lewis album. “We thought we were done with Control, then Janet’s manager came to hear the album,” says Harris. “We played him Nasty, When I Think Of You, The Pleasure Principle … And he says: ‘I just need one more song, for Janet.’ I’m going: ‘No, man, no.’ We get in the car to go to a restaurant, Terry puts a cassette in, and about the third song in, Janet’s manager says: ‘That’s the song I need.’”

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The Velvet Underground’s greatest songs – ranked!

As Todd Haynes unveils his documentary about them, we rate the best work of a band who overturned and reinvented rock’n’roll

The Velvets recorded two versions of Ride Into the Sun: a fabulous 1969 instrumental laden with fuzz guitar and a hushed 1970 vocal take backed by organ. Somewhere between the two lies one of their great lost songs; Lou Reed’s disappointingly flat 1972 solo version doesn’t do it justice at all.

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Raffaella Carrà, Italian entertainment icon, dies aged 78

Star of music, TV and film who had UK Top 10 hit in 1978 with Do It, Do It Again had been suffering an undisclosed illness

Raffaella Carrà, the pop singer and actor who was an entertainment icon in her native Italy, has died aged 78.

Her long-term partner, Sergio Iapino, announced her death, saying: “Raffaella has left us. She has gone to a better world, where her humanity, her unmistakable laugh and her extraordinary talent will shine forever.” He said she had been battling an unnamed illness for some time.

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Rock sideman Earl Slick: ‘Bowie had gone levels into insanity’

He played through extreme drug-taking on Bowie’s Station to Station, and with Yoko Ono weeks after Lennon’s death. The guitarist explains why he’s great at backing legends – and terrible at selling timeshares

It’s not surprising that Earl Slick was in the middle of a tour when the first Covid lockdown began. The guitarist is, by his own account, “the biggest roadhog on the planet”, one of rock’s most celebrated sidemen: his association with David Bowie stretched over five decades; he has played with everyone from John Lennon to the Cure to Carl Perkins. This time, he was playing in the UK with his friend Glen Matlock, which meant he spent the first six months of lockdown living not at home in New York but in the former Sex Pistol’s spare room in London, an experience he winningly likens to the 1968 comedy The Odd Couple. Apparently, Matlock was the neat-freak Jack Lemmon character and Slick the more laissez-faire Walter Matthau figure. They put on shambolic Facebook live performances, which, Slick notes, “probably had more comedic than musical value”. Between songs, there was certainly a lot of peering at the camera and discussing whether or not it was switched on.

Video-calling from his home in New York, he says he “lost a lot of gigs and a lot of dough” as a result of the pandemic, but at least he had time to put the finishing touches to a solo album, Fistful of Devils, his first in 18 years. It’s instrumental – a stark contrast to 2003’s Zig Zag, which featured Bowie, Robert Smith and Def Leppard’s Joe Elliott among its supporting cast. “But when I go out live,” he notes, “I always go out with a singer. When I’m on stage with a singer, all my sideman tools get pulled out the box. Even if my name’s on the marquee, the main focus should be on the vocalist.”

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Sex-positive pop star Shygirl: ‘I want to affect your equilibrium’

After feeling sexualised even before her teens, the south London rapper wrested back her power. She explains how her disruptive club music creates a space where anything can happen

Shygirl’s tracks are, for want of a better word, filthy. The 28-year-old musician’s lyrics detail sexual exploits and disposable partners. “I like to glide, figure skate,” is not about ice dancing. This week she releases BDE, a collaboration with Northampton rapper Slowthai, and it’s less rapping on her part, more an intoxicating mix of cooed and snarled commands over ominous production. This is sex as chaotic workout, and if it ends up jarring the listener, the artist has achieved her goal. “I love it when art makes me uncomfortable, because I have to question where that’s from,” she says. “How can something affect my equilibrium like that? I want to affect other people’s equilibrium.”

Her domineering musical persona is worlds away from the chatty, pleasant woman I meet in a bar outside Cambridge University’s Union, where she has just given a talk about her artistry and the accessibility of the creative industries. About a quarter of our time is spent laughing; sharp introspections on owning one’s narrative as a public figure come as easily as self-deprecating tales of recording angry voice notes about previous partners. And it’s easy to see why she’s increasingly considered a fashion force: following a recent Burberry campaign and soundtracking runways for Thierry Mugler, she stands out majestically via orange hair, wholesome babydoll dress and eye-catching Telfar Clemens boots, noticed by wide-eyed students in our vicinity.

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Jazz-funk guru John Carroll Kirby: ‘When musicians are uncomfortable, it can be interesting’

He’s worked with Solange, Frank Ocean, Harry Styles and more – and his own music is wondrously fun and spiritual. The LA artist explains why it sounds like butterflies and mountain lions

Amid the swirling sounds and scenes intersected by Los Angeles’ sprawling freeways, John Carroll Kirby is somewhere at the centre of it all, shirt open, hair slicked back. He circles the city’s buzzing jazz movement with his soul-dappled instrumentals and is a keysman, composer and producer who’s been enlisted by some of the most exciting names in contemporary pop: Frank Ocean, Mark Ronson, Harry Styles, Blood Orange, and Solange Knowles, whose incendiary past two albums, A Seat at the Table and When I Get Home, were shaped in part by Kirby.

He laughs as he describes his own work as “French cat burglar music”: it blends jazz with new age, funk and exotica, flutes often taking centre stage. Tracks are inspired by paintings of ayahuasca visions or stories about dolphins that turn into lost boys. Kirby is of a spiritual persuasion, but he has a sense of humour about it, too.

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Belinda Carlisle on punk, cocaine, body image and Buddhism: ‘I was born a little bit of a rebel’

As the singer for pioneering all-female band the Go-Go’s, Carlisle took on a sexist music industry – at a cost. She talks about overcoming addiction, the media’s obsession with her weight and finding happiness in her 60s

It hardly matters – who really cares about these things? – and yet it does. This year the Go-Go’s will be inducted into the Rock & Roll Hall of Fame, and earning a place at the museum in Cleveland, Ohio, for all its naffness, is still a mark of influence and recognition. “I always said: ‘Fuck them, I don’t care,’” says Belinda Carlisle, the band’s lead singer. “But when it actually happens, it’s: ‘Oh, this is not so bad.’”

The Go-Go’s have had a reappraisal in the past year, thanks mainly to a documentary by the film-maker Alison Ellwood. It tells the story of how these scrappy young LA punks put together a band (the lineup shifted until arriving at the current five members) and made history – incredibly, they are still the only female band who write their own music and play their own instruments to have reached the top of the US album charts. That was in 1982. As with many female artists, belittled for years by the male-dominated music industry and press, the recognition feels long overdue.

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Elton John and John Grant: ‘We help each other. We are both complicated people’

The pop legend and the US indie star have long been friends and fans of each other’s music. With Grant staying chez Elton and about to release a new album, the pair sat down to discuss politics, homophobia – and why Elton should never write lyrics

It’s a boiling hot day in rural Berkshire, and a man in navy satin Gucci shorts has just walked into his library. It’s all ornate chairs, wooden globes and Buddhist statues, its oiled shelves lined with books about history, the arts – and tons about music. The scene is one of airy tranquillity, the perfect place for two culture-loving good friends to hole up for a chat.

One of them isn’t here yet – he’s popped to the bathroom after having his photo taken – but Elton John can’t stop raving about John Grant. “We have so many things in common – photography, art, music – it’s as if we’ve known each other for ever. And he’s fun!” Grant wanders in shyly in a pink baseball cap, weathered Talk Talk T-shirt, and glossy white DMs. “Much more fun than his records are anyway, haha.”

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