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Exploring the Rivalry and Respect between Paul McCartney and Brian Wilson

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Exploring the Rivalry and Respect between Paul McCartney and Brian Wilson

by Kelli Richards, Jeeni MD USA

Click HERE to visit or return to jeeni.com

A guy named Jeffrey Stillwell has put together a great video essay focused on the so-called “rivalry” between the Beach Boys and the Beatles; and in particular the relationship between Paul McCartney and Brian Wilson. They were most certainly inspired by each other creatively and each wound up bringing out the best in each other as both are quick to confess. When “Pet Sounds” came out, it blew the minds of the Beatles, and that was a big catalyst to what would become “Sgt Pepper” in terms of musical experimentation — both are still such iconic albums that it’s hard to believe it’s been 50 years since each was released. This video biopic also chronicles the relationship and interactions between Paul and Brian over the decades, and ultimately the deep respect they have for each other —and it’s worth investing the 20 minutes to watch it.

There’s also a personal tie for me here in a couple of ways. As a teenager, I was hugely influenced by both groups and in particular the Beatles; I became a life-long Beatle-ologist as a result (as a hobby). It also led me to a career in music & music tech (initially wanting to be a record producer having immersed myself in the techniques of production) — first as young A&R exec at EMI/Capitol, and then when I launched and ran Apple’s earliest focus on music and entertainment during my lengthy tenure there (where among my responsibilities, I had to deal with the fall out of the lawsuits between Apple Inc and Apple Records – the Beatles’ company).

I also parlayed that early production passion into being a talent producer of award shows and celebrity fundraiser events over several decades. One of the events I was asked to co-produce was called “Adopt-a-Minefield” in conjunction the with the United Nations. Paul’s then-wife, Heather Mills, was heavily involved in the cause, and she organized these annual events (I believe there were five) featuring Paul and his band, and another major artist. I co-produced the event in 2002; Paul had invited Stephen Stills and Brian Wilson to perform with him — and the event was hosted by Jay Leno.

The event took place in LA, and was a high-ticket event; I believe it was limited to 500 in attendance. I had some interesting conversations and interaction with Paul that evening, who was determined to ensure all the details to do with the production of the event were flawless and well-thought-out. For the 500 of us in attendance, it was magical to watch Paul and Brian doing a duet on both “God Only Knows”, a favorite of Paul’s, and on “Let It Be”. It’s too bad it wasn’t taped so it could be streamed.

There can be no doubt of the creative genius and respect these two have for each other’s music and as individuals. As a final aside, Paul and Brian were born just two days apart in June 1942; geniuses in good company from the very start! (There’s a cute clip in the video essay of Brian calling Paul on his birthday and singing a verse from Paul’s “Birthday” song).

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06
Jan

DarkStarGraver - 'Over The Bridge & Far Away' Album Review

If you had any familiarity with this Portsmouth rapper's refreshing and inventive brand of UK hip-hop, then it should be of no surprise that his newest album is as buoyant, animated and thought-out as it is. This is the first album DSG has released since becoming an integral part of the Jeeni mission. DarkStar has been an avid Jeenius since Summer last year and has been blessing the Jeeni database with vibrant and innovative artistry ever since. All seven tracks of this incredible project are on Jeeni right now. Jeeni is always looking to represent and uplift artists with visions as clear and focused as DarkStar. DarkStarGraver's biggest crime here is leaving us wanting for more content because although he's cohesively expressed a giant variety of emotions, styles and influences, he took just 18 minutes to do it! He justified the choice of a shorter album on Instagram, "New album is 7 tracks in total, could’ve been more but I like that number", DSG cleverly released this record knowing he has so much more in his artistic tank for the next project.  A clear highlight on this record is the early, consecutive killer features on ‘Running Man’ and ‘No Brainer’ from Kid Crayy and Baby Panna respectively. DSG takes the reigns on these tracks at first and allows his fellow Portsmouth MCs to embellish the final push and create a rememberable climax for these standout tracks. Kid Crayy's attacking flow is restless and constantly bops and weaves around the beat. Baby Panna, however takes his time and makes each syllable hit harder than the last. Panna also performs the ear-worm 'Ride with me' hooks just before and after his verse which just completes the track. DarkStar made it clear that “This project is dedicated to the Portsmouth Hip Hop scene” and made a specific mention to the Portsmouth artists that predate him and thanked them for “Sparking the fire that made me want to rep my hometown as an artist”. A meaningful dedication to a blossoming music scene is a suitable sentiment for such an excellently put together and varied album.  DSG uses his robust and adaptable voice so well on this project that at times, it sounds like extra, unlisted features. For example, a rather high-pitch singing voice for the hooks on ‘On My Way’ is then met with a deep and resonant rapped verse to finish off the short opening track. ‘Gohan’ (review) which was a single teaser for this album, features more of DarkStar’s contagious melodic rapping which is enhanced and made all the more effective with the excellent production of Zack Nailor at WRS Studios.  The hi-hats and 808 bass in the beat for ‘Juice & Gems’ works so well with the jangly acoustic guitar sample, as though they were always meant to be heard together. In fact, the entire album makes such an effective use of samples throughout; ‘Slow Jamz’ has a romantic and theatrical strings sample which turns the rapid, trap-esque beat into a dramatic, epic cut that is just too short. DarkStar also hints at a feral, almost growling voice on this track which provides yet more evidence that DSG will never settle or stop experimenting with what his voice can achieve.  The album ends with class and impact. ‘Over Time’ features a melodramatic female vocal sample which wails over a seductive lounge piano, sparkling under the rumbling beat. The bonus, shorter track, ‘Justice League’ is a moody album finisher containing reams of witty wordplay which flows like water.  Once again, a feat like this album is a credit to producer, Zack Nailor as well as DarkStar himself of course for containing the talent, passion and vision to pull something like this off so seamlessly.  How can Jeeni support artists like DarkStarGraver?   JEENI is a multi-channel platform for original entertainment on demand. We’re a direct service between creatives and the global audience.   • We give creatives, independent artists and performers a showcase for their talent and services. And they keep 100% of everything they make.  • We empower our audience and reward them every step of the way.  • We promise to treat our members ethically, fairly, honestly and with respect.  • Access to artist liaison and a supportive marketing team.  Check out DarkStarGraver’s Jeeni showcase here: https://jeeni.com/showcase/darkstargraver/ 

23
Jun

Emiliyah and the MightyZ Allstars at The Queens Hotel Southsea

COMPETITION TIME WIN FREE ACCESS FOR A GROUP OF 6  The Queens Hotel Southsea Sunday 13th June 2021. Emiliyah and the MightyZ Allstars are a collective of talented musicians fronted by lead singer Emiliyah Witkiewicz. The band perform original new reggae music, while still staying faithful to reggae roots from the 1970s and early 1980s. Emilia ‘Emiliyah’ Witkiewicz from Warsaw is a true vocal phenomenon.  Without doubt the most exciting new talent on the Reggae scene.  Never formally trained, she started her musical journey with Jazz, Blues and Soul music before finally choosing reggae. Singing from her heart always, Emiliyah has already worked with and supported names like Janet Kay, Vivian Jones, Winston Reedy, Kenny Knots ,Starky Banton, Luciano to name but a few. Joined with immensely talented musicians – ‘the Mighty Z All-stars’. Consisting of Stuart ‘MightyZ’  Inglis on bass, Bri Cotter on guitar, J Sealy on Drums and Cajon, James ‘The Jazz Priest’ Richardson on keyboards and Clinton ‘Rock’ Jones on lead guitar. Emiliyah and the MightyZ Allstars will be performing at the Summer Garden Party hosted at The Queens Hotel Southsea along with The Majestic, Sunday 13th June 2021. How to win: All you have to do is like and share this blog post and we will enter you into the draw to be announced Saturday Night 12 June 2021 at 8pm.  Full Details of event can be found at: https://book.events/queensgardenparty/2021-06-13/30015 #funky #upbeat #uplifting # emiliyahandthemightyzallstars  #blogs #reggaemusic #band #livemusic #jamacianmusic #guitar

06
Jun

Meet The Curators Behind Spotify Playlists - the A and R Dictatorship

Landing on an official curated Spotify playlist is for many artists a holy grail. To provide some insight, we hear from a Spotify editor about how they find the songs which eventually make the cut. Spotify seems to be the opposite of Jeeni, where the process is democratic and those artists that start trending are based on real votes, and whilst technology has moved on they are still in the dark ages where their music is still decided and dictated by A&R agents. And unlike Jeeni.com, with Spotify if they don't like the look of you, then you're not coming in! Guest post from Spotify for Artists by Khalilia Douze A Spotify editor explains how they discover songs to include in their curated lists. Being added to a Spotify playlist remains the dream for most emerging artists, as it exposes their work to some of the most-clicked on playlists in the world. But for many musicians and their teams, the behind-the-scenes process still feels shrouded in mystery. While there’s no formula for scoring a coveted slot on Pollen or RapCaviar, there is rhyme and reason to how the massive team of editors curate tracks. We spoke with one Spotify staffer, who helps oversee R&B playlists such as the genre flagship Are & Be, The Newness, Soul Coffee, Soul Lounge the Black Lives Matter playlist and more, to learn about their process and tips on how musicians can stand out when pitching unreleased music through Spotify for Artists. Spotify for Artists: What strategies do you use to curate playlists? The strategy is based on the playlist itself. Each has its own hypothesis, theme, or audience that we’re thinking about. If it’s one of the genre-specific playlists, like Are & Be, that’s the home for the current, biggest songs in that space. The Newness is new releases or developing artists. Chilled R&B, Soul Coffee, those playlists have a mix of current and some legacy and catalog artists. It really all depends on what the goal of the specific playlist is. What are you listening for when you’re curating? I’m listening for lyrics. I’m listening for melody. A lot depends on the playlist itself, and sometimes that’s the filter that I have. When I’m listening, [I’m like] Oh, this song would do good in this playlist or, This song could fit here for this moment. A lot of it is based on the audience. You have the specific genres, but then there’s a lot of cases where those lines are blurred. The instrumentation and the beat can determine an audience, so [we think about] where we believe the audience is for that particular song. Does song length play a role in how you’re curating? It depends on the playlist. Soul Coffee is more of a relaxing [vibe]. In our minds, that’s one of those where you would just get up in the morning and that’s what you throw on while you’re getting ready, eating breakfast, or reading a book on Sunday. I know that the people will just have it on, so that playlist has a longer time spent listening as opposed to the flagship, Are & Be, and The Newness. For The Newness, when people are listening to that or one where it’s developing artists and new releases, that’s more about discovery. People may not spend a lot of time listening to that playlist—it’s about skimming and seeing what’s out. Can you walk me through how you use the submission tool to discover music? Labels pitch to us every week. We’re able to get their submissions through there, but they also communicate with our Artist Label Partnership team. We’ll talk to them [about] what their plan is for their priorities. There’s a ton of music—it’s countless. That’s pretty much the majority of Mondays and Tuesdays, listening to the pitches that come in for that week. It goes to our whole team. We listen to everything. The rest of the week is updating the playlists and finding the space for them, reviewing what songs are already in the playlist, looking at the performance, and things like that. When it comes to tags in the submission form, what advice do you have? People should be as specific as possible and fill out every single thing to make sure it goes to the right people. Different editors might have different filters to differentiate. I’m listening for if it’s a cool song first and foremost, but past my opinion of it, do I know if there’s a home for it? It’s about being able to find it and [seeing] where it can fit. I’ve seen entries where it would literally just be the artist name and their title—that’s how it gets lost in the abyss. We’re not omnipotent, so we don’t know what we don’t know. Are there any rules about how many times an artist can be playlisted? No. Every curator is different and has [their] own philosophy on what songs are in a playlist. There’s no concrete rule. Click HERE to visit or return to jeeni.com