‘Marley’, the new documentary—premiered in Kingston last week and now released to the world—shows just how large one particular issue was in Bob Marley’s music (and life), even till after his death: race.
Marley’s decision to aim for success in rock music instead of the U.S. black music scene caused producer Chris Blackwell (who prompted it) to be vilified by other members of the Wailers, even to the point of calling him “Whitewell.”
And the film sheds new light both on Marley’s father— a white Jamaican who got the black daughters of plantation workers pregnant—and on the love affair between the result of one of those pregnancies and a future Miss World.
Speaking at the premiere of the new film, the first ever with backing of the Marley family, Neville Garrick (longtime friend and artistic collaborator to Bob Marley and the Wailers, who designed their album covers and live staging) told me “the essence of Bob Marley” was that “through the colour of him skin he get persecuted.” The young Bob was called ‘red boy’ and ‘half caste’ ”But that just make him stronger” he said. His full interview is below.
Race loomed large even after his untimely death, from melanoma (a form of skin cancer that usually afflicts light-skinned people who suffer damage from the sun). The film contains the allegation “it was Bob’s white side that killed him”.
That white side was his father, Norval. A white military man whose family came from Sussex, he was a plantation overseer who did a good job of overseeing—and impregnating—the black daughters of plantation workers. One such was a sweet voiced gospel singer called Cedella Booker, who was the daughter of a respected local figure, and eighteen years old. Norval was in his fifties—and had got another black plantation girl pregnant at about the same time.
Although providing some financial support, Norval pretty much absented himself and died ten years later, leaving Cedella to bring up the child up alone. Although her family were supportive, as observant Catholics they disapproved, and she found herself having to move to Kingston—Trenchtown to be exact, the area named for being built over the ditch that drained the city’s sewage.
There Bob Marley was bullied for being half white. Colin Grant’s recent book about the Wailers included an interview with Bob’s 65-year-old widow Rita who said Bob “longed so much to fit in, he used black boot polish to make him appear more African”.
Rastafarianism, the heart of his future music, which he encountered through Cedella’s lover’s son—Neville Livingston, aka Bunny Wailer—was the answer. There, young Bob found a home in Africa, which Rastas believe is the origin of mankind. To Rastas Bob’s white side didn’t matter. The philosophy, as his song ‘One Love’ would put it, was “Let’s get together and feel alright.”
Bob Marley’s desire to be more black, and for Jamaicans to be accepting of their black identity, contrasts with some modern dancehall artists who seem to be telling young Jamaicans to be more white. The recent controversial use of skin-lightening creams by Vybz Kartel (e.g. ‘Cake Soap’) shows the racial tug-of-war that still goes on today on the island, between the Americanisation and the Africanisation of Jamaica.
Even Rita Marley herself admitted it wasn’t ideal for a black woman to marry a half-white man – at one point in the film she says ”as a black woman your ideal man was tall, DARK and handsome”.
The film’s premiere was held on Thurs 19th April at Emancipation Park, Kingston. As I arrived, the audience for the eight o’clock screening was flocking in – and it was only six! Of course there was a little sprinkling of JA rain, but impressively the VIP’s did not move. It was clear when Rita Marley entered the park—it looked like a queen had just arrived, from her outfit to her flag-waving entourage.
The movie is a brilliant—but long—look at a man we thought we knew. After interviewing Nevile Garrick and Cindy Breakspeare, who were both very close to Bob, it was clear to me that “Marley” is a true representation of Bob and his story. The film show the flaws in his character—the legend as a human being. He faced dilemmas in his life—just like anyone—although they may have been contradictory to his beliefs.
As anyone who’s seen him speaking at Reggae events knows, Bunny Wailer doesn’t like Chris Blackwell very much. And this has been confirmed by the movie’s director Kevin MacDonald.
Back in the day, Blackwell thought Bob Marley and the Wailers should position themselves as a rock act, rather than aiming for the US Black music market. This strategy was vilified as “making Bob less Jamaican,” although in reality, because of the nature of the US Black music industry at the time, it was making him less likely to “perform in a bow tie.”
As Blackwell said during an interview with Andrew Perry for the Telegraph in 2009: “He trusted my instincts, which were that he should go after being a rock star, rather than a star on black American radio. His music was rough and raw and exciting, but all black American music at the time, other than James Brown, was very slick and smooth. Bob trusted me on that—he was as keen as I was. He was with me in the studio when we did all the overdubs.”
But as the director Kevin MacDonald said in an interview for the Independent, “Bunny Wailer hates Chris Blackwell. He feels like he took Bob away from Jamaica, that he broke the Wailers up. I don’t think it’s really true, but from Bunny’s perspective it is. Also, there is this residual resentment of the white man who has profited to an unseemly degree (as he would see it) from the labour of the black man.”
Peter Tosh was similarly anti towards his onetime producer Blackwell, who at one point in the film is referred to as “Whitewell.”
After years of litigation and accusations, it now seems as though Blackwell and the Marley family have made lasting peace—but with Bunny Wailer carving a path of his own. And, who knows? Maybe with further accusations and litigation to come.
One last, and lovely, thing to come out of the new movie, was the incredible connection between Bob and Cindy Breakspeare (the reigning Miss Jamaica and later Miss World, his girlfriend and mother of Damian Marley). But Bob and Cindy were different in one big respect — he being the Rasta, she the beauty queen. Makeup represented Babylon! At one point in the film Cindy was saying she used to get back in the evenings and rush to take off her makeup. One day she was a little late and he came in and said ‘I caught you’. It was all in jest of course—one thing there’s no doubt about is that they really loved each other.
The fact that Cindy and Rita could peacefully share the premiere night showed that Bob Marley created a sense of “one love” in more ways than we know.
Words by Reshma B
Stream the full interview with Neville Garrick below…
Is that the time?
April 30th is fast drawing to a close, with May snapping at our heels. Just out of sight, the festival season is lingering with the summer set to promise week after week of live music and heady memories.
The release schedule is already accelerating. Gazing at the singles pile this week, it somehow seems larger than ever. Young hopefuls, returning heroes… they’re all in their waiting to be assessed.
So let’s dive in.
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RM Hubbert ft Aidan Moffat – Car Song
RM Hubbert is a true star in our eyes. An incredibly gifted musician, the Glasgow based artist’s output has won him numerous fans – not least Aidan Moffat, who kindly agreed to lend his voice to ‘Car Song’. Pretty much everything Moffat touches turns to gold, and this single is no exception – a beautiful, lingering piece of music which seems to exemplify everything we love about both artists. A perfectly formed, beautifully executed song which unravels with each listen ‘Car Song’ comes with an affecting video which features none other than Esperi – another Scottish artist worth picking up on.
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…and the rest
Keane – Silenced By The Night
Pick up the new Keane single. Press ‘play’ on the CD player. Let the inoffensive songwriting drape itself around you, until a solitary finger begins tapping on the table. The sun beams its way through the window, blinds cutting the light into panels on the floor. You switch off. ‘Silenced By The Night’ comes to a close, the CD player goes silent. You’re still staring at the wall, snapping back into the real world after a few moments of quiet, solitary introspection. The tune ? Well, it’s good to fade out to. No idea what it sounds like, mind.
Patrick Watson – Into Giants
The first slice from his new album, ‘Into Giants’ finds Patrick Watson on imperial form. All slow building, interweaving melodies and thoughtful orchestration, the track manages to be both bombastic and understated. A wonderful return, upcoming full length ‘Adventures In Your Own Backyard’ is surrounded with promise and expectation.
Lower Dens – Propagation
A rather magnificent Baltimore based collective, Lower Dens are undoubtedly best served in album form. That said, ‘Propagation’ is a pile driving assault barely containable within the grooves of a seven inch single.
Dan Mangan – About As Helpful As You Can Be Without Being Any Help At All
Expertly crafted, folk infused songwriter Canada’s Dan Mangan produced one of last year’s most understated (and under-rated) long platers. ‘About As Helpful As You Can Be Without Being Any Help At All’ provides a good catch up for fans: smooth of voice and playful with it, this is about as helpful an introduction as you can get without actually forking out for the entire album.
Flats – Country
With Dan Devine heading into prison sponsored rehab this morning, it’s perhaps fateful that Flats release one of their most pulsating, ferocious sonic assaults. Starting at 100MPH and accelerating from then on in, ‘Country’ is a nostril flaring, blood quickening update on the Hardcore template.
The Rosie Taylor Project – Every Morning
Gentle, breezy indie pop. Sure, there’s a lot of it about but The Rosie Taylor Project seem to come with a simple, unpretentious air which makes ‘Every Morning’ impossible to dislodge.
Photo Credit: Luke G Joyce
Kwes and Micachu have unveiled their new mixtape ‘Kwesachu Vol. 2’.
Two of Britain’s most adventurous and open minded musicians, Kwes and Micachu’s joint mixtape ‘Kwesachu’ remains a perennial Clash office favourite. So news that the pair were working on a second instalment caused no end of excitement…
‘Kwesachu Vol. 2’ finally dropped this morning (April 30th). Available as a free download, the tracklisting is laden with exclusive material, guest spots and remixes – to grab the mixtape just enter your email address below.
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1. HCHMWBIA – ft. Ghostpoet/Grant Armour of CLOUT!
2. DJ Set – Micachu & Kwes.
3. Beast – Raisa.K ft. Evian Cafun
4. Awol – Amen (Micachu & Pete Wareham)
5. Plastic Coins – ft. Speech Debelle/DELS
6. (Ripped) Blossomshoes (excerpt) – w. CLOUT!
7. Visual Mind Control – ft. Speech Debelle
8. Bird Milk – ft. DELS/Bella Wilde
9. So What – ft. Bang On! & Lee Scott
10. Nothing – ft. Tirzah
11. Glub (excerpt) – Dorovio Bold
12. Papertigers – Action Pyramid
13. LGOYH (alt) – ft. Dels/Kwes./Elan Tamara/Hebe Jones/Evian Cafun/David Okumu of The Invisible
14. 7-5 (Change) – ft. Coby/Grant Armour of CLOUT!/Elan Tama
Kwes is set to release his new EP ‘Meantime’ today (April 30th). Micachu, meanwhile, will release her new album ‘NEVER’ on July 23rd.
A relentless torrent of innovation, each new album from Squarepusher can be an intimidating experience. ‘Ufabulum’ – Tom Jenkinson’s latest work – definitely sits in this lineage; ideas swarm around the producer like electrons around a nucleus, buzzing a path which is both beautiful and at times difficult to comprehend.
Departing from his recent work with the bass guitar, Warp have billed ‘Ufabulum’ as a return to ‘pure electronics’ – the technical divorced from the physical. “You’re right to pull me up on this because it’s very much a thing I said at passing to one of the guys at Warp and I didn’t realise at the time that I was possibly being monitored for a possible catchphrase!” he jests. “As it happened, I said this and now it’s coming back to haunt me”.
Not that the phrase is entirely without meaning. ‘Ufabulum’ finds Squarepusher located firmly in front of a computer screen, leaving his bass shredding antics – at least temporarily– in the past. “In a very loose way, what I was trying to say is that this is music which doesn’t contain any live performance as such. It’s music which is generated purely from programming. There’s no live guitar or drums, there’s nothing in it which is live, really. At all”.
A definitive break from a creative process lasting almost five years, ‘Ufabulum’ seems to employ the certainties of technology to supply an upgrade. “Time for the habit to be broken, time for a total revision of priorities, a re-think of the way in which I’m working” he insists. “The other thing to say about it is that live, the way in which I have been working – particularly on a record like ‘Just A Souvenir’ – is where I’m performing all these live takes, I’m the instrumental performer but also the engineer and the writer. At the same time you’re switching between what I feel are two very different mindsets: the mindset of a performer and the mindset of an engineer. From my experience, you make a conscious switch when you step from one set of shoes to another. It’s actually consequently very demanding, it’s very hard work”.
“I’m old school in the sense that I will also get very good live takes rather than chopping together bits of performances to make one hyper-real perfect tape” the producer muses. “I’ll just play one song all the way through until I get it right. It’s a lot of work. I want to get back to doing something.. Again if you’re play a live take on the spur of the moment then everything you do gets recorded, consequently if you’re recording and you fuck up then everything’s fucked up. If you make music in a recorded fashion then you’ve got all the time in the world. If you don’t like something then you just re-arrange it.”
Ironically, though, ‘Ufabulum’ is set to be accompanied by one of Squarepusher’s most dynamic live shows yet. An ambitious mangling of light and sound, the visual element of the concert experience was seemingly drafted in conjunction with the record. “I’ve tried to make a very clean break – as clean as I can make it – with live shows in the recent past, and try to make it.. I’m trying to avoid getting trapped into playing older tunes” he says. “The other thing to say is that of course the two are linked but when I was making these pieces the music was tied to the visual elements which are going to become part of the live show. The visual elements I saw them from the outset as being displayed on massive screens. I don’t want this to be seen as something you see on a TV screen I was it to be seen on something which is five metres wide. So I kind of ended up stuck really, at the end of it. I thought: do I release the music without the pictures? The process in the studio, I was doing my best to try and integrate the two. Does the music work without the pictures? In the end, I was of the opinion that it did. It stands in its own right”.
Kept under wraps, Squarepusher recently hinted at the properties of his new live show with the video for ‘Dark Steering’. A stunning, complex work it featured the producer clad in vivid LED clothing. Seeming inspired by a dream, the track has a near apocalyptic urgency spurred by Jenkinson’s own visions of nuclear rockets searing through the sky. Seemingly, this is far from the first time that Squarepusher’s unconscious mind has flooded the gates of his creative faculties. “It’d odd though because in something like this case there’s a very easy transition to make between what I saw in the dream – rocket tracers in the sky – and a computer generated image which replicates them. It’s easy to make that transition” he explains. “Then there are more difficult transitions to make, where you might hear something in a dream. Something to do with the nebulous nature of dreams obscures the details of what happened, you might be grasping back towards that memory and yet actually I think probably in the end what you do is start filling in the gaps. At the end of the day rocket tracers in the sky is something which you can look at film footage of – it’s a thing which we’ve all seen in the news at some point. If you like, it’s a stock image. If you’ve imagined a sound which you’ve never heard before you’ve got no reference points, as such. You’ve got that single memory of a sound in a dream which you are trying to reach back to and re-create. I don’t think it’s a particularly easy thing to be doing and of course naturally you fill in the gap, improvise and sketch over the bits that you can’t remember so well. It’s still the case – some of the most memorable and vivid dreams I’ve had contain music”.
Looking back, Tom Jenkinson ponders a particular dream which has returned to his slumber time and time again. “I’ve got this particular recurring dream where it’s essentially about a perfect piece of music – I hasten to add that I know how ridiculous that sounds, and I don’t really even endorse the concept or even the possibility that a perfect piece of music can exist” he says. “But simply it’s a track I’ve but written but then lost, and I’ve found it again in this dream and it unifies my work”.
“I look at my work quite critically, I see it as a very splintered, quite messy – specifically with reference to my recorded output which spans 18 years now. It’s a great, big fucking mess. In this dream, this one piece of music is the final part of the puzzle which makes sense of the whole thing. The thing is, I’ve been having this dream for years and the painful thing on waking up is realising that the piece of music actually doesn’t exist. Yet it acts as an inspiration for me a lot, you think: I actually want to make that piece. And of course you can’t. You never really quite achieve the sense of completeness that it seemed to have in the dream. But still, it’s a valid inspirational force.”
‘Ufabulum’ is set to be released on May 14th
Jah Wobble has spoken to ClashMusic about his upcoming London show ‘Metal Box In Dub’.
On its release, ‘Metal Box’ split fans and alienated critics. Drawing on dub, free jazz and more, Public Image Limited finally removed themselves from the ‘punk’ tag and surged forward into uncharted waters.
Now viewed as a seminal release, ‘Metal Box’ has had a strange old journey. Original PiL members Jah Wobble and Keith Levene joined forces recently for a daring re-interpretation of the album, re-tooled as ‘Metal Box In Dub’.
Heading to London venue the Village Underground on May 25th, ‘Metal Box In Dub’ will see the influential album re-cast in new and inventive ways. ClashMusic recently sat down with Jah Wobble to discuss the performance.
“It’s an album which is talked about more often than listened to” he jokes. “I think people like the idea of liking it. It’s like James Joyce’ ‘Ulysses’ – most people haven’t actually read it!”
Looking back, Jah Wobble’s pinpoints his first introduction to electric period Miles Davis as a seminal moment in his musical development. “I heard that and at the time I was in the process of realising that I was leaving PiL. It was back in 1980 as we were about to go to America. I had heard Miles Davis and that really rocked my world. I realised that my conception of ‘Metal Box’ and what I envisaged PiL to be was continuing to go down a kind of a road where you can develop in certain ways. More modal and more theatrical in a sense, some of it. But I could definitely see the connection with dub, because there’s such a big, fat bottom end and not a lot on top or in the middle, so it was influenced – at least sonically – by the dub approach. So there are these two things informing it.”
Re-uniting with guitarist Keith Levene, the pair are leading a new ensemble through the ‘Metal Box’ material. “I mean, we’re both in our 50s now and while we’re not planning on dying anytime soon we’re at that age where it’s either now or never” he insists. “So quite frankly, I would probably run out of track in this business sooner or later one way or the other. I get quite tired of the business side of things anyway, so I’m feeling that this is definitely something I want to do in the latter stages. It’s not a ‘tick the box’ exercise but let’s finish some unfinished business. I like the idea getting the intray cleared out”.
Begun last year, the ‘Metal Box In Dub’ project has already resulted in some much dissected performances. “We’ve really enjoyed each of the three performances we’ve done. What surprised me is that I could really hear aspects of Morricone in there, and even Giorgio Moroder. The drummer we’ve got is so good, and so locked in that it sounds like Moroder, like heavy disco”.
“So that’s the reasons, really. If we’re going to do it then it’s now or never. I’d be surprised if I was doing it next year, like I say there’s only a few shows. I’m doing this purely for the spiritual kick of getting my in-tray as empty as possible. Hopefully when you kick it you’re in-tray will be empty. Sounds a bit drastic but I want to achieve what I was sent to achieve before ascending to a higher level… I’m joking, I’m joking!”
‘Metal Box In Dub’ –
25 London Village Underground
Tennis make sweet, wholesome nuggets of pop music, three minutes dollops of contagious melody and infectious energy.
Yet the video for new single ‘My Better Self’ isn’t quite what you would expect. Tennis are captured – in every sense – performing in a bizarre nightclub with some serious David Lynch style overtones.
Couples are dotted around the set, clasping hands in a silent embrace. Staring at the band, the odd, uneasy atmosphere builds as the song progresses. Tennis take part in a dance routine, which is as charming as it is surreal.
Watch the video below.
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‘My Better Self’ is to be released on May 28th, with Tennis slapping ‘Petition’ on the flip. The digital package of the single finds Tennis supplying cover versions of ‘Tell Her No’ (originally by The Zombies), ‘Tears in the Typing Pool’ (originally by Broadcast) and ‘Is It True?’ (originally by Brenda Lee).
6Music previewed a new track from Sigur Ros – listen to a portion of ‘Varúð’ below.
It’s so close you can almost touch it. Sigur Ros completed work on their new album earlier this year, with ‘Valtari’ set to be released on May 28th.
Several previews have emerged online, with Shaun Keaveny’s show on BBC 6 Radio recently playing host to ‘Varúð’. A rip has found its way onto the internet, listen to the clip below (via Pitchfork):
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Sigur Ros recently unveiled album cut ‘Ekki Múkk’ as a typically beautiful video. Check it out below, then find full album details after the jump.
‘Valtari’ is set to be released on May 28th. Tracklisting:
1. Ég anda.
2. Ekki múkk.
8. Fjögur píanó.
Cate Le Bon has announced a series of headline shows across the country this September.
Clocking in at just 35 minutes long, Cate Le Bon’s second album ‘CYRK’ is remarkably varied. Within its slender time limit, the songwriter explored garage rock and fractured folk, never once allowing her sound to settle in one place.
Heading out on the road this Spring, Cate Le Bon has confirmed support slots with Perfume Genius. Celebrating the release of ‘CYRK’ the Welsh songwriter will then look ahead to a summer of live commitments.
With a palpable buzz around her new album, Cate Le Bon has decided to unveil a number of headline shows.
Opening in Liverpool on September 6th, the shows continue with appearances in Leeds, Glasgow, Newcastle and more.
Hitting Chester on September 11th, Cate Le Bon is scheduled to perform at London venue XOYO soon after. Stretching around the country, the tour comes to a close with a show at Carmarthen on September 15th.
Tickets are on sale now.
Watch the video for ‘Fold The Cloth’ below and check out the full list of September shows after the jump.
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Cate Le Bon is set to play the following shows:
6 Liverpool Leaf
7 Leeds Brudenell Social Club
8 Glasgow Captains Rest
10 Newcastle Cluny
11 Chester Telford’s Warehouse
12 London XOYO
13 Birmingham Hare & Hounds
14 Portmeirion Festival No. 6
15 Carmarthen The Parrot
My Bloody Valentine are continuing to tease fans with details about a proposed new album.
It’s been 21 years since My Bloody Valentine last released a studio album. 21 years which have seen fans teased with numerous bouts of rumour, myth and speculation.
However the upcoming re-issue project has seen My Bloody Valentine stir back into life. Kevin Shields recently gave an interview to Pitchfork, revealing that he was busy working on a new studio album.
Now the guitarist savant has told MOJO that My Bloody Valentine could release new material by the end of the year.
The “impressionistic album” has been assembled from unreleased takes laid down over a decade ago. According to Shields, the re-issue process re-ignited his interest in the abandoned material.
“I listened to the stacks of CDs and thought, ‘Shit, this is better than the unreleased tracks on the compilation. I decided it would be insane not to finish it’”.
Renowned for their slow work rate, fans had doubted if My Bloody Valentine would ever finish their new album. However Kevin Shields explained that he is quite willing to bulk up his work rate when necessary.
“The myth is that I’m somebody who really overworks things but I’m not like that at all” he insisted. “It’s just about recording when you feel good and capturing something as quickly as possible”.
Meanwhile, Kevin Shields has also been contributing to Primal Scream’s new album. Former label mates, the relationship between the band’s was strengthened recently when My Bloody Valentine musician Debbie Googe was unveiled as the temporary replacement for Stone Roses bound Mani.
There is no official timescale for a new My Bloody Valentine album.
There’s eye catching artwork and then there’s eye catching people. Well folks, in this issue of Clash we seem to have fused the two camp’s as we quiz Hatcham Social’s Finn Kidd on his lovely LP cover and find his serial killer tendencies seriously at home.
What’s going on here? It seems a younger woman’s got tangled up with an older man?
It’s actually the other way around. It’s Benjamin Braddock and Mrs Robinson from The Graduate. It’s a really great film. Obviously Simon And Garfunkel did the soundtrack to it, but the film…he falls in love with his girlfriend’s mum, they kind of have an affair, she’s obviously kind of cold. The image represents the idea of that lust for girls, she’s kind of looking away because she’s not bothered.
The guy looks a bit like Rowan Atkinson as Mr Bean.
(Laughs) No it’s not.
Why does she look so distracted?
I don’t know. I think girls can often be always the centre of attention or the thing you need, therefore making them less bothered about it.
She’s not left the gas on at home or anything?
No, she’s just a bit like “he’s a stupid boy.”
Some people just love kissing with their eyes open.
It’s true! There’s been big questions about that. Many girls have been talking about it saying: ‘Surely you don’t mean it if you’re eyes are open?’ I’ve experienced it both ways.
You had a little peek somewhere else?
Yeah, you’re getting kissed and you’re looking over at the wine on the table, thinking about something else.
People find that quite terrifying, I’d put it on a par with people that lick their knives at the end of a tasty meal.
What’s wrong with licking your knife? Is knife licking bad because you’re licking something that’s sharp or because you’re obsessive about eating?
I think it’s just quite unnerving; pseudo-psychopathic. It shows how comfortable you are with weaponry and eating things. It brings out the cannibal in you.
I have eaten off of my knife, I will have to say.
Nice! Your media training is kicking in well now. Do you think she’s having lesbianic thoughts?
She could be! I like that interpretation, that’s very good. It adds a lot more to the story. Well, the whole album is kind of about girls, so the image was to represent your lust and want of that thing.
How do you feel in general about the wider topic of cover art? Should it receive more emphasis?
I think it’s very sad because it’s my favorite art. You buy a record and you put it on and you sit there and look at the sleeve don’t you? Like I’ve got the ‘American Graffiti’ soundtrack and it’s totally wrecked but it’s really wonderful, because it’s such a weird painting and then opens up and you’ve got all the photos. I think that’s part of the whole charm. It makes you look at the music differently when you listen to it.
Do you think there needs to be more emphasis on lesbians on album covers?
I don’t know, it sounds like it would turn out to be a Roxy Music kind of ‘Bloodhound Gang’ cover.
Interview by Matthew Bennett
This feature appears in issue 74 of Clash magazine, out 3rd May 2012. Find out more about the issue HERE.