Is YouTube Harmful to Children?

 

At the risk of sounding like a dinosaur, today I'm pondering two significant questions. Firstly "is YouTube in any way harmful to children?" and secondly "does Albo have a point?" The mere fact that the Australian government is currently including YouTube in the proposed social media ban, has made many musicians stop and think. As a content creator myself, and having been uploading videos on YouTube since 2008 I, like many other musicians have skin in the game, and stand to lose out if the plan goes ahead. 

Despite this inconvenient truth, I personally feel the need to research what is behind the government's decision based on objective facts. Facts, not from what is currently available in the partisan press; but from well-researched, peer-reviewed academic studies. The type of studies that no doubt a Prime Minister such as Anthony Albanese will have readily available. If there is any credence to YouTube being included in the ban, then I want to see the receipts, and not be swayed by all the emotionally charged rhetoric I've been reading online. 

I read amongst these discussions the use of pejorative terms like "nanny state" and even quotes cited from dubious politicians pursuing their own agenda. Surely one of the major responsibilities of any upstanding government is to protect the vulnerable, and if there is any evidence that You Tube poses harm to children then they are duty bound to act.

I say to the content creators who are concerned about loss of income, perhaps it's time that Google/YouTube started paying us directly for our content, instead of dishing out advertising revenue ad infinitum. In my opinion, encouraging content creators to focus on numbers to make a living has created a platform that is rapidly declining in both quality and originality. 

There is an awful lot of repetition of so-called trending content which has too often got nothing to do with art and very little to do with education. Although production qualities have significantly improved over the years, in my experience quality control over what is deemed as educational appears to be sadly lacking.

Perhaps the musicians who create music videos for educational purposes would be better served going outside YouTube (like a certain Australian duo featuring a tiger have done) to provide their educational content independent of the constraints of the almighty YouTube algorithm. Or better still, maybe consider a career in the teaching profession. There are schools the world over crying out for educators. Trust me, and I speak with some authority on this, having been a state school teacher for over twenty years, you will find it to be the most rewarding career you could ever choose. 

So I'm off to do my own research, and for those playing along, I'll let you know what I discover in due course. If my research definitively proves that YouTube is in no way harmful to children, then I can assure you, I will be as relieved as everyone else. 

Artist Spotlight: Robin Nathan aka fleaBITE

New Zealand may be small but it certainly is mighty when it comes to children's music and entertainment. At the centre of the wonderful world of children's music emanating from this island nation is Robin Nathan or fleaBITE as she is more commonly known. An award-winning artist who has managed in her illustrious career to walk away with four, yes that's right four, Best Children's Album awards, three with fleaBITE and one as a producer for the wonderful Fatcat & Fishface. Her formative years include heaps of experience in both theatre and radio, where she mastered the art of surreal comedy.

Interestingly, there is no particular message in her work as such, she is very much an organic creator, blowing in the wind with whatever takes her fancy from one day to the next. Which is why she explores a host of different musical styles, and achieves such eclectic diversity on her new album. Impossible to pin down or even categorise, fleaBITE is something of a law unto itself. Constantly searching, exploring new sounds, new ideas and new techniques in order to create a truly compelling product.

Her music is unique, captivating and entertaining and succeeds through achieving that fine balance between musical dexterity, humour and technical prowess. She is very much in the school of child-centred entertainment, where the music is from a child's perspective and not aimed at the parents. Off-beat and original; fleaBITE offers a different approach, providing the listener with music that breaks down traditional barriers. 

The new album Piggy Oink Oink (yes that's right), features ten original songs which draw from a variety of influences including rock, techno and reggae to name just a few. With sound effects galore and some inspired musicality throughout, fleaBITE take no prisoners here with themes as diverse as animals, swimming, the weather, colours and even shampoo. A real standout track for me is "Colour Me" with its ambient vibe and magnificent choral infusion. The melody is quite superb, and the song works because of its minimalist arrangement and crystal clear vocals that captivate and delight in turn. Marvellous!

All in all an extraordinary artist whose growing reputation I am sure will lead her from strength to strength.

fleaBITE - a creative powerhouse.

What's in a Name?

The Swedish composer Bjorn Ulvaeus once admitted in an interview that he never cared much for ABBA as a name. When pressed further, he suggested that Roxy Music, The Rolling Stones or Depeche Mode were more serious contenders. Whether you agree with him or not regarding his name preferences, I'm sure we'd all agree that having a great band name can do wonders for your music career. For me, names such as the Jesus and Mary Chain, the Ramones or the Smiths immediately come to mind. 

A name defines an artist or band, whether it's the Edge, Sting or the Clash, your name acts as a point of reference, grabs the attention, and if it's captivating enough can propel your music to astonishing heights, particularly if you have the music to back it up. Clearly in the long term it is the music that really counts, just ask Elton John, but in the short term, the band's name and the image they project ultimately provide the keys to the citadel.

I have no doubt that the early and rapid success of the Jesus and Mary Chain was largely because of their name. It was their name that got them the initial attention, and landed them the London shows providing the perfect platform for their musical talent to shine through. I know this because I was around back then, and although they only had one single out at that particular time, everybody was talking about this Scottish band with the unique name. It sometimes makes me wonder how many great bands we may have missed out on over the years perhaps because they didn't get the name or the image quite right, because clearly the image of any given band is equally important.

Gary Numan always cited Ultravox as a major inspiration, and when he was asked why he felt the original line up featuring John Foxx never got the recognition they deserved, he suggested it may have been because 'they didn't get the look right'. Gary Numan had both a number one album and single at the ripe old age of 21, and clearly understood the power of imagery. Changing his name from Gary Webb to Gary Numan was as inspired as his icy stage presence and exotic outfits. He clearly knew his stuff, as did a certain Midge Ure who took over from John Foxx on lead vocals, and transformed Ultravox's image with tremendous success in the eighties. Clearly sound and vision work together in harmony.

Many other great band names have fascinating origins and mythologies underpinning them, and none more so than the Rolling Stones. The story of their name, as once reiterated by Mick and Keith, was that when Brian Jones was on the phone and landed their first gig in London, they also landed a major problem, they didn't have a name for their band to perform under. In something of a panic, Jones apparently looked around the room for inspiration only to spot a Muddy Waters album with the song 'Rolling Stone' featured on the track listing, and the rest of course is musical history.

The reggae band UB40 provide another interesting story as they were all unemployed and living off benefits when they came up with their name. For all those of you not from the UK, the name UB40 refers to the identity card each member had to present to the unemployment office in order to claim their social security benefits. Talk about rags to riches, from miserable dreamers to multimillionaires courtesy of an unemployment card and a handful of decent tunes.

Nigel Morton, original manager of the rock band New Model Army, told me that he landed their first major break through gig because the highly influential promoter John Curd loved the name. He booked them to play without listening to a tape because he thought it was such a 'superb name'. This was clearly significant, and proved to be a game changer for the band from Bradford. I remember seeing their early posters around the city centre and thinking to myself what a brilliant name for a band. I can't imagine they would have managed to garner their army of loyal followers over the years under any other name despite their compelling music. The same could perhaps be said of many other artists and bands.

You could perhaps start with Simon and Garfunkel who were originally known as Tom and Jerry, or maybe 'On a Friday' who changed their name to Radiohead. Other contenders include Queen, who changed their name from Smile, the Obelisk who became the Cure, the Pendeltons who became the Beach Boys, or alternatively, Mr Crowe's Garden who became the Black Crowes. Then there's the Young Aborigines who became the Beastie Boys.  Does anyone remember Wicked Lester who became Kiss, or perhaps the Screaming Abdabs who became Pink Floyd. 

Would Tony Flow and the Miraculously Majestic Masters of Mayhem have succeeded without the name Red Hot Chilli Peppers? Or the Pulka Tulk Blues Band who became Black Sabbath? Correct me if I'm wrong here, but I heard somewhere that Credence Clearwater Revival were originally known as the Golliwogs. Alternatively, when it comes to solo performers how does David Jones measure up against David Bowie, or James Newell Osterberg compare with Iggy Pop? Sometimes artists get lucky and they have a great birth name like Elvis Presley or Taylor Swift, but then again if you consider the likes of Lady Gaga, Bruno Mars, Snoop Dog, Lorde or Pink, surely they all benefitted from a bold new aesthetic approach.

There are so many fascinating stories I have come across over the years, far too numerous to mention here, and no doubt many like-minded musicians, will have spent many an hour pondering over what their newly formed band name should be. Not an easy task, so perhaps there is an element of luck involved, or maybe you have to just dig deep and look within. 

The appeal of Nirvana for me is quite a compelling one. Where Curt Cobain one of the most brilliant and tragically tortured artists of all time, a man who struggled with drugs and mental issues throughout his life opted for the name Nirvana. The irony of this name was not lost on too many people. Nirvana to this day remains one of my favourite band names, and a great band to boot. They still have an astonishingly high stream count, despite not having released any music for three decades. What a tragic loss to music his short life was.

Now you may argue, and you may be right, that clearly there are many bands who hit the top without particularly inspiring names and deservedly so. I love the 1975 but never cared much for their name, the same goes perhaps for U2, the Killers and Coldplay, all who have enjoyed enormous success without the assistance of a clearly identifiable name or image. I also used to be a fan of UK prog rockers Supertramp who had huge success in the seventies, but I disliked both their name and their image. It's nice to know that sometimes music really does conquer all. But if you want to get noticed in this game, a good name can go a long way to achieving this. It doesn't matter how good your band is, if no one gets to hear it or see it. Which reminds me of the old Chinese proverb. "If a tree falls in a forest and no one is around to hear it, does it make a sound?" Good question.

Incidentally, two of my favourite bands of all time, the Psychedelic Furs and the Only Ones both have great names. Apparently, singer Richard Butler came up with the name Psychedelic Furs because he loved the word 'psychedelic', and combined the adjective with 'furs, lifted from the Velvet Underground song 'Venus in Furs'.  It's also well documented that the Only Ones name came from a dream that singer songwriter Peter Perret had, which seemingly just floated into his head one night, something of a gift from the Gods perhaps. Alternatively, Marc Bolan decided to shorten his bands name Tyrannosaurs Rex because producer Tony Visconti used to abbreviate the name to T Rex when he wrote it in his diary for a forthcoming session. A man who wrote the classic anthem 'Children of the Revolution', a song which I still play to this day.

Which conveniently brings me to on to the subject of children's music. As we all know children's music is a relatively new genre, having only really taken off in the nineties largely as a result of the incredible success of the Wiggles. Their inspired choice of name would clearly never have worked for a rock band, but for a kids' band it's perfect. Clearly, children's bands have a bit more room to be experimental with their names, and don't need to concern themselves with what is regarded as cool or in vogue, by an increasingly fickle and somewhat cynical music press.

My favourite kids' band name of all time has to be the Relative Minors, what an absolutely brilliant name, and one which would no doubt work in many other genres. I also love the Mudcakes, Bounce Patrol and Itty Bitty Beats. All these names are right on the money, and if you are interested in other contenders please check out my earlier blog post from July which features a list of my favourite all time kids' band names. In the meantime, I take my hat off to the truly exceptional, imaginative and resourceful use of names that have come to light over the years. If you have any band names that you like and consider to be worth mentioning then feel free to leave a comment, I'd love to hear from you.

That's the name of the game.

Artist Spotlight: Kath Bee

Kath Bee is a New Zealand based artist who has been performing to families across her homeland for over seventeen years. She began writing songs for children back in 2001, and her extraordinary back catalogue now includes over one hundred original songs. She is also increasingly active on YouTube, amassing over a million views to date, no mean feat in such a crowded space.

The artist has released eight albums to date, each featuring the type of critical content that both engages children and informs parents. This includes the album, Children: Our Voices IntertwinedD, where the children took centre stage singing on each track, an idea which originated from the emotional impact of the Covid pandemic.

Her latest album, Simple Action Songs for Babies to 2yrs for Learning & Fun, is aimed squarely at the youngest listeners. It is a short, sweet album covering everything an early childhood educator would require for a music program. Clocking in at just over nine minutes, the album provides a fresh approach to some classic early childhood music themes, and does so in fine style. I have no doubt this album will soon become an absolute must for parents and teachers of infants alike. 

The album features a lively series of interactive, action songs bookended by two catchy greetings songs providing a perfect way to start and finish the day. The vocals are as clear as crystal, and are supported by simple arrangements, providing the kind of pop sensibility that renders them perfect for a very young audience.

You can hear how the artist's expertise as an early childhood performer really shines through each track, leaving the listener confident in the fact that you are in more than capable hands. There is an immediacy to each song,  providing a certain familiarity in the music even on the first listen. The album takes the listener on something of a musical journey, where movement is the key ingredient. This includes all motor movements, such as clapping, walking, tiptoeing, stomping, jumping and spinning.

The album succeeds in providing a complete toddler workout for every young child, whether they are at home with a carer, or with an early childhood educator running a music class. There is also plenty to dance to here for both carers and their little ones. The album is short and sweet, and finally draws to a close with a sit down track, quickly followed by a soothing lullaby to calm things down.

The album really has it all, it is highly interactive, beautifully sung, and engages the audience throughout, with songs that serve as playful commands to action. The album features live instrumentation including some of the finest double bass playing you're ever likely to hear.  Both highly interactive and engaging the album opens up new possibilities, where every song has a purpose that is executed brilliantly throughout. Enough said!

Kath Bee - inspiring young minds.

EKM - Top 20 Kindie Band Names

The world of kindie music is exciting and diverse with a wide range of music styles and creativity on display. This also extends to the band names chosen by the various artists. Here, in no particular order, is a list of my absolute favourite band names. If you haven't done so already, I urge you to check these artists out at your earliest convenience.

1. The Relative Minors
2. Alphabet Rockers
3. The Mudcakes
4. Bounce Patrol
5. Tiptoe Giants
6. Itty Bitty Beats
7. Teeny Tiny Stevies
8. Kids Imagine Nation
9. The Zing Zangs
10. Andy and the Odd Socks
11. Little Feet Music
12. Recess Monkey
13. Spotty Kites
14. Spikey and Friends
15. The Quokkas
16. The Little Wattle Bird Band
17. The Cuddly Koalas
18. The Vegetable Plot
19. The Not-Its!
20. Brady Rymer and The Little Band That Could

Whistle & Trick Live at Ron Hurley Theatre, Brisbane

 

How lucky was I to catch the mighty Whistle & Trick perform their wonderful show at the Ron Hurley Theatre in Brisbane. A relatively small but intimate venue which provided the perfect backdrop for this inspired performance. The stage set up consisted of a Pearl drum kit with an additional monitor to the side, three vocal microphones and some sparse but highly effective lighting. Incidentally, the venue was packed to the brim with excited children and families eagerly anticipating the performance.

The dynamic duo hit the stage at around 11am, and despite some untimely technical problems quickly shifted into gear, working the audience to maximum effect with their colourful costumes and delightful vocals. The opening track "Bananas and Other Delicious Things" immediately had the audience clapping and singing along in rapturous delight.

The children were soon up and dancing to a host of brilliant songs, as the duo served up some familiar favourites including "Clicketty Clack" and "Shake Your Body" just for starters. As the show progressed the band provided plenty of theatrical moments including the unexpected arrival of a charming life-sized emu puppet during the electrifying "Melindu". 

The drumming of Col Leadbetter was superb throughout, as were the excellent harmonies of Maddie Thiele who also played the ukulele. Despite the fact that Trick was struggling with a throat issue she powered on nonetheless and never missed a beat throughout. The degree of professionalism on display despite such setbacks, was of the highest standard providing real credence to that old cliche 'the show must go on'.

Other standout tracks included the mesmerising "Shake Your Body" the highly engaging "Shiver Me Timbers" and the alluring "Rain Rain" where a bubble gun was introduced firing an array of exploding bubbles into the air adding further colourful mayhem to the proceedings. There was clearly no shortage of theatrics here, further epitomised in the form of two multi-coloured fans that moved like butterflies floating in the breeze. 

The duo then took the tempo down a notch with the gentle lullaby "Sleep Baby", a song which provided an opportunity for the audience to momentarily pause for breath and enjoy the gentle vibe.  Even in the quietest moments they manage to hit the target such is the strength of songwriting featured here. This was shortly followed by the lively "I Love My Family" adding another slice of joyful optimism to the proceedings, where the energy of the music was clearly working on an enraptured audience. 

The band finished with the explosive "I Wanna Be a Dinosaur"; without doubt one of the finest dinosaur songs you are ever likely to hear, which had the children jumping around impersonating dinosaurs like their lives depended on it.  All in all a brilliant show from a superb new band, who really know how to work an audience. Many of which seemed very familiar with the songs, and sang along with gusto and relish throughout.

It's no mean feat to keep young children engaged for almost an hour, and even when the curtain finally fell, you could feel the audience would have loved to have heard more.  For me, the main strength of this band is the way they communicate with the audience, creating the type of atmosphere that is both infectious and engaging, where seemingly there's a party going on, we're all invited and everyone's having a great time. They achieve this with the type of exuberant energy and playful participation that can only make you smile.

Whistle & Trick - we are family.

Do Children Deserve Better?

Back in May last year, Canadian musician Grimes had this to say about children's music: 'People who don't have kids don't realise the insidious artistic scourge that is "children's music". How can we heal as a society when everyone's earliest artistic experience is completely devoid of humanity or beauty? Half joking but kinda not.' Yes, pretty provocative I agree, and such a controversial assertion that clearly brought her a modicum of notoriety as a result. I can't imagine it concerned her much though, as she temporarily basked in the sunshine of transient outrage. As Oscar Wilde once famously declared: 'The only thing worse than being talked about is not being talked about'.

Nonetheless, the question still remains, is she right or is she wrong? Surprisingly, I would argue that she is both right and wrong; although such ambivalence may come as a surprise to anyone familiar with this blog. Grimes is clearly wrong, when you consider the delicate beauty of Claudia Robin Gunn, the imaginative zest of Poco Drom, or the enlightening energy of Joanie Leeds. These artists are amongst a growing number of emerging musicians across the globe, who have clearly succeeded in elevating children's music to new heights. 

However, I largely agree with Grimes in the sense that family music seems to contain more than its fair share of vacuous repetition. I'm sure most people will have come across the song 'Baby Shark'; currently the most popular video on YouTube of all time, with over fourteen billion views to date. There is undoubtedly an addictive ingredient to these types of tunes, which are often cynically targeted, rehashed and presented to children across the internet. Surely this raises the question, does the genre really need another version of "Baby Shark"? If your answer is yes, then clearly Grimes had a point. 

Having said that, there is plenty of evidence that children enjoy singing simple tunes and tend to respond to catchy ditties. There are also undoubtedly many language development opportunities contained in this type of music, particularly for younger children, that assist with cognitive development. However, shouldn't musicians at least try to expose the public at large to something different? Remember how JK Rowling transcended children's literature through the Harry Potter series. Or how Queen managed to disrupt the snobbery of the classical music establishment with their prog rock anthem Bohemian Rhapsody. 

Furthermore, it's not just children's music which is vulnerable to such criticism, and derided as a homogenous entity. Mick Jagger once famously sang, 'it's only rock 'n' roll but I like it', well, so did their fans, it was a superb song written by a legendary band that stood the test of time. Nonetheless, as with every genre there is always a polar opposite lurking in the shadows. For every Beatles there's a Monkees, for every Marc Bolan there's an Alvin Stardust, and for every Abba there's a Brotherhood of Man.

Now this is only an opinion so no emails please, but it begs the question, are we doing children and their parents a disservice, continually dishing out this ubiquitous repetition, or do they deserve better?  I appreciate we all have to make a living somehow, and accept that there are sometimes certain financial imperatives at stake. If you are in the business of simply making a profit through music and this is how you want to go about it, then who am I to argue, burn me in hell as long as it pays. Just don't expect artists such as Grimes or anyone else for that matter to respect it.  

Baby Shark - money for nothing and your clicks for free.

Album Review: Levity Beet and the Aotearoa All Stars

Well, the relatively small but highly influential island nation of New Zealand is really setting the pace in the world of music at the moment, with the imminent release of this truly exceptional album. Levity Beet and the Aotearoa All Stars contains a unique collaboration of the finest children's music writers, performers and producers from across the country. Here, a rich diversity of the cream of the NZ music scene have combined their respective talents, and in doing so have succeeded in creating a musical masterpiece. 

The album opens with the delightful ditty "Let's Build This Home", where a jaunty vibe sets the tone, led by the the warm exuberance of Suzy Cato on lead vocals. The music glistens and shines throughout, providing an opening metaphor of what lies in store for the attentive listener. Here the lyrics briefly explore how this collection of artists built the album, working together in this productive collaboration, represented here as something of a home from home. Whether this involves building a house, a song or an album, we are encouraged to 'build with ideas', ultimately represented through song and dance.

I remember when I first heard the song 'Band Aid' way back in 1985, I was particularly struck by the unique input and individual style of each artist. Who could forget Bono's famous harmonic duet alongside Sting? Similarly here, you can instantly recognise the distinctive sound of Claudia Robin Gunn on the wonderful "Stick", the infectious energy of Craig Smith on the hilarious "Silly Sausage", and the delightful contribution of fleaBITE on the captivating "Sing". 

Furthermore, there's plenty of variety on this ambitious album. If you're looking for action songs to liven up your home or the classroom, there's plenty to choose from. Such as the charmingly melodic "Funny Little Bunny" featuring the very talented Judi Cranston.  Here, the lyrical invitation conjures up images of happy kids dancing in line with jaunty steps and open hearts.  Likewise, the hypnotic"Jump" featuring the fabulous Loopy Tunes, continues in similar fashion with its cool rap vibe and sweeping soundscapes, providing copious opportunities for movement and dance.

The irrepressible Chris Sanders takes centre stage on "Monsters in the Room" and succeeds in adding a certain jollification to the proceedings. The song somewhat unsuprisingly reminded me a little of the Cookie Monster with its raspy vocal and percussive vibe. There clearly is something for everyone here, and no stone remains unturned, such is the diversity and imagination available. The album succeeds because it never rests on its laurels, constantly searching for new heights, where every possible idea is seemingly plucked from the air and transported into a compelling and ambitious musical arrangement. 

"Riding Up The Hill" harnesses shades of Simon and Garfunkel's classic "Cecilia" particularly during the intro, where the rhythm both introduces and then propels the sound forward. The lead vocal from MLO provides something of a country vibe, as the lyrics paint a picture of a series of intrepid journeys from the hilltop to the moon and everywhere in between. The song also contains additional surprises, including an explosive rap towards the end, where we are reminded in no uncertain terms that this trip is truly 'amazing'.

"Witches Brew" takes the listener on an extraordinary dive into esoteric mayhem, where the brilliant Itty Bitty Beats add their own unique brand of amazing vocal histrionics to the sound. Here the Munsters meet the B52s to create the most extraordinary musical arrangement you are ever likely to hear. "Sing" has a slight Americana feel, where Gene Kelly is seemingly resurrected for a cameo appearance, encouraging the listener to 'sing in the long grass', when there's nothing to do. The album also finds the space to fit in a musical nursery rhyme for the twenty first century with the masterful "One Baby Burger", where the illustrious contribution of Kath Bee provides a truly compelling vocal delivery.

My absolute favourite track on the album is the delightful "Monster Fish", which includes another superb vocal performance from the award-winning duo Mr Roberelli, laying down a cool, detached almost Caribbean vibe, where we get to 'head down to the river and catch that monster fish'. The bridge is saturated in melody, and the harmonies are truly superb. A real feel-good track, which is guaranteed to lighten your mood on even the darkest of days. 

"When We Say Goodbye", finally brings down the curtain, providing the perfect way to conclude the album. A very catchy singalong, featuring the ingenious Music with Michal who adds her own particular brand of crystal clear vocals to the proceedings. The magnificent vocal blend throughout the song adds a tremendous sense of vitality to this jaunty yet slightly melancholy farewell. 

Perhaps a little early to claim album of the year, but this has to be a serious contender, such is the depth of talent and strength of content contained here. Each song exudes its own unique charm and succeeds in providing something slightly different. On some occasions the magical adventures of youth are beautifully captured, where distant memories are revisited with a glimmer of nostalgic reverence. The mastermind behind this ambitious musical project is Levity Beet himself, who describes the album as 'a celebration of the power of music to bring people together'.  I couldn't have put it better myself. The album will be released on 1st May.

Levity Beet and the Aotearoa All Stars - a timeless classic.

Single Review: D is for Dancing - Brady Rymer and the Little Band That Could

Well if you haven't heard of Brady Rymer, and are as yet unaware of his significant contribution to family music then you must have been living under a rock! Brady is one of the longest lasting and most prolific artists of his generation, emerging on to the family music scene way back in 2000. A rebel without a pause, he is still creating some of the finest music around to this day.

His new single "D is For Dancing" portrays the artist in fine form, with its melodic retro vibe, and exuberant energy. Here, the song takes the listener on an extraordinary journey across the alphabet, with the letter D coming out on top because "D is for Dancing" and we 'want more and more'. For me, the music conjures up images of American nostalgia, where we are seemingly treated to a cameo performance from the Crystals on the set of Happy Days. 

The music also exudes a slight Beach Boys influence, largely due to the delightful harmonies which add an additional layer of sonic texture to the track. Despite the delicate intricacy of the music, the rhythm section really packs a punch, sparring with some inspired keyboards in fine style. The guitar is generally used sparingly until the break, where it really lets rip adding an electrifying alternative to the vocal melody. 

Brady Rymer is a star in his own right, a man on a mission who along with his superb band, manage to create electrifying pop seemingly at will. His new single further cements his growing reputation as a true master of his craft, with his unique ability to create inspired lyrics, magical melody and imaginative harmonies. Perhaps most importantly, his music succeeds in celebrating how learning can be fun, and dancing is truly the best. The song will be released worldwide on April 12th. Happy listening!

Brady Rymer and the Little Band That Could - alphabet rock.

Flash Single Review: Funky Dance - Mr Super Dude and Kinderchartin'

"Funky Dance" is the latest release from Mr Super Dude and Kinderchartin'. Guaranteed to have everyone up and moving, the song provides an interesting blend of pop, hip-hop and funk with an explosion of sound that immediately grabs your attention.

The overall vibe reminded me a little of Talking Heads, with perhaps a modicum of assistance from Run DMC on the way.  The lyrics are largely descriptive, where a series of actions are described and 'a hop and a skip and a roll' are seemingly the order of the day.

The rhythm section is highly percussive, creating the required space for a penetrating brass section to swoop in and out of the track adding additional texture. The dynamics are highly effective with the music gradually building in intensity, as we are all invited to 'do the funky dance'.  

A highly innovative piece of music, that will have you up and on your feet dancing in no time at all. If you put Talking Heads, Run DMC and perhaps the Wiggles in a studio, you could possibly come up with something like this. Original, uplifting and inspirational, these guys clearly have their fingers on the pulse and their eyes on the prize. 

Mr Super Dude and Kinderchartin' - a musical explosion.

Artist Spotlight - Lucas Proudfoot

I first met Lucas Proudfoot when my band shared a bill with him at the Playgroup Children's Festival back in 2012. Lucas was the opening act, arriving on stage before the event had really got going, so needless to say the audience was pretty small. It didn't bother Lucas though, he was simply delighted to be there, and performed like he was in a sold-out stadium.

As a result of his seminal performance, we now have a saying in our band when things aren't quite going to plan. We loudly exclaim "Lucas Proudfoot" to try and harness the energy and enthusiasm of what we saw that day. We then stand up tall, smile and give it our absolute all.

I later met up with him again when he kindly agreed to play the didgeridoo on our song "It's Our World". He was the consummate professional, adding a certain mystique and depth to the track, in no time at all. His enthusiasm and conviviality on the day provided a real boost to the entire recording process.

Since then, I've observed Lucas' rise to the top with increasing admiration, from the intimate library event I reviewed at Mt Ommaney library back in 2015, to his headline performance at QPAC - Brisbane's premiere theatre venue. What I wouldn't give to play on that stage!

His original stage show incorporated a unique blend of live music; stand-up comedy, and a historical dive into Indigenous culture. Although I haven't yet seen Lucas' new stage show, I am reliably informed it contains all the previous elements plus a whole lot more. Including a full-colour animated cast of characters adding further potency to the overall mix. There really is something for everyone here, and on this form, I'm convinced Lucas will continue to go from strength to strength.  

If you are not yet familiar with Lucas' work, I suggest you check him out on Spotify or his YouTube channel at your earliest convenience.

Lucas Proudfoot - a man on a mission.

The Rights and Wrongs of the New Music Industry

The digital revolution has undoubtedly made it easier for musicians to make music than ever before. It could even be argued as Harold Macmillan once famously declared, 'you've never had it so good'. Recording costs have plummeted, and these days a song or album can be distributed around the world with the simple click of a button. Furthermore, gone are the days when musicians had to go down on bended knee to gain the approval of a record company. According to John Lennon,  this was one of the main reasons why the Beatles launched Apple records back in the sixties; somewhat ironic I know.

If you were ever actually fortunate enough to sign a record deal; which was some achievement back then, the wheels of the music industry moved relatively slowly. Records were generally packed into copious boxes on their release date, before been driven around the country and distributed to retailers by hand. I was somewhat familiar with this arduous process, as I used to pack and distribute records for both Virgin and Rough Trade Records back in the day. I remember whenever the Smiths released a new album, we had to work the whole weekend to get it out on time such was the unprecedented demand. Clearly a lot more physical work was involved in those days, and that's without even considering international distribution.

Nonetheless, this new found freedom has undoubtedly come at a considerable price. Yes, artists can record, release and distribute their music at minimal expense and incredible speed, but they no longer have the weight of a publishing company to protect their intellectual property. Consequently, they are now more vulnerable than ever to exploitation, because any guard rails that previously existed have been unceremoniously blown off. 

Bearing this in mind, I recently came across the disturbing case of children's musician Ronnie Boy, who discovered that his song "Burger" had been used by a restaurant chain on an Instagram video, without recognising him as the originator of the music. To add fuel to the fire, over one thousand reels were created from the original upload which has now received a staggering eighteen million views. Regrettably, the view tally has been credited to the uploader of the video and not Ronnie Boy himself.

I'm not sure if this issue has been resolved at the point of writing, but I would imagine it is somewhat unlikely, given the state of the new music industry, where piracy is ubiquitous. Without the backing of a publishing company to represent you, anyone, seemingly anywhere in the world, can exploit your music for their own illicit purposes, and it seems there's not much you can do about it.The music industry is now more competitive than ever, and situations like this certainly don't help new artists. I imagine that eighteen million views on social media would be a considerable game changer for any aspiring musician. I'm sure many like-minded artists would be furious if they had experienced something similar. This is particularly significant today, where just a small fraction of major artists dominate the airwaves like never before. 

If you are looking for justice, you won't find it in the music industry. Promotional opportunities are often restricted for lesser known artists, where creative output is often overlooked in favour of numerology and over-hyped social media accounts. Or as Depeche Mode so eloquently put it, 'everything counts in large amounts'. Haven't these digital monoliths ever heard of career development or artistic growth? It surely begs the question, how many years did the Beatles or David Bowie have to slog away at their craft before they finally broke through? Clearly increasingly inequality, and the inherent injustice of the one percent, is not restricted to the boardrooms of Wall Street or Goldman Sachs.

In my experience, musicians are somewhat naive when it comes to business matters, and have long been exploited by nefarious operators who are clearly not in the game for the love of music. Nonetheless, can you imagine shamelessly advertising someone else's song to serve your own interests without prior permission, before the arrival of social media? Such audacious operators would have been sued into oblivion, and deservedly so. In light of all this, it is crucial that artists are recognised and fully compensated for their work, because in terms of making an impact, it has never been harder, such is the intense competition of the new music industry.

To digress slightly, I have just finished reading Naomi Klein's latest book "Doppleganger", where she explains in considerable detail how her name became confused with the conspiracy theorist Naomi Wolfe. As a result, she was targeted on social media by both the left and the right for her so-called extreme views, many of which have nothing to do with her. This confusion has been further exacerbated by complex and aggressive algorithms, which have conflated the two writers, and created more confusion and pain than you or I could ever imagine.Whether it is Ronnie Boy, Naomi Klein, or whoever may be experiencing the Orwellian impact of the online world, we are clearly living in an increasingly vulnerable age. Where the considerable benefits of this new found artistic freedom for an emerging musician, or an acclaimed author, are consumed by sharks ready to pounce in either direction.

In the meantime, I would like to give a quick shout-out to Ronnie Boy the aforementioned artist, and his innovative song "Burger", a track which succeeds through combining haunting harmonies with an infectious rap. On first listen, you can see why it has gained traction, such is the raw simplicity of the lyric and its relentless hypnotic groove. Surely the way forward in such cases, is for the uninformed retailer to take responsibility, and commission a song from Ronnie Boy directly, rather than plundering his creativity to serve their own purposes.

I hope that at some point this issue will be resolved and the artist will be fully compensated, or at least recognised for his innovative work. For now, we'll have to wait and see.

Credit where credit is due.

Single Review: Fairy Fiesta - Em and Me and Rainbow Rosalind

"Fairy Fiesta" is a musical collaboration between Em and Me and Rainbow Rosalind.  The former a mother-daughter duo from Dunedin in New Zealand, and the latter a real-life singing and dancing fairy also from New Zealand. The song also features on Em and Me's debut album: 1, 2, 3 Dis-Go! 

The music is quite funky, largely due to its innovative bass line, which weaves its magic spell throughout. The electric guitar is equally impressive; dominating the sound with the type of rhythmic intensity that Chic made famous in the seventies. A sparse keyboard further lifts the intensity on the chorus adding additional dynamics to the overall vibe. The bridge features an inspired rap using a truly minimalist approach, where bass, drums and hand claps create the space for the vocals to instruct the audience in true instructive fashion. 

The lyrics describe a series of unfortunate incidents in some detail; whether this involves 'slamming your finger in the door' or 'dropping your ice cream on the floor', it's all revealed here. Nonetheless, there is an upside to these calamities in that, if 'you're feeling down', then don't worry join in the Fairy Fiesta and allow us to 'sprinkle our magic everywhere'. 

The overall vibe reminded me a bit of Dee-Lite's famous "Groove is in the heart", where the music presents itself as if there is a party going on, where everyone's invited, and having heaps of fun in the process.

This is a fabulous song, which is easy to dance to and ultimately succeeds in leaving the listener feeling 'Fairytastic'.  Here, melodic inspiration and musical dexterity merges with the type of innocent charm that can only make you smile.The lyrics are both imaginative and effective, where we are encouraged to forget the doom and gloom, 'turn off your frown' and dance along to the "Fairy Fiesta".  I'm sure this song would be a huge hit both in the classroom and at children's parties. I highly recommend it.

Em and Me and Rainbow Rosalind - the perfect match.