Film, Télé et Musique

MOJO October 2020

Launched in 1993, MOJO celebrates the stories of music's all-time greats. It does this through expertly written, insightful features and exclusive, in-depth interviews. MOJO also finds and recommends new music of quality and integrity, so if you want to read about the classics of now and tomorrow, it is definitely the music magazine for you. As founding editor Paul Du Noyer put it, MOJO has ""the sensibilities of a fanzine and the design values of Vogue."" It's lovingly put together every month by music fanatics with huge knowledge, who share your passion. And because they have unrivalled contacts in the music industry, they bring you the kind of access, news and expertise you won't find anywhere else.

United Kingdom
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4,38 €(TVA Incluse)
30,21 €(TVA Incluse)
12 Numéros

dans ce numéro

7 min.
in my life

PHOEBE BRIDGERS SUFJAN STEVENS BRIGHT EYES WAXAHATCHEE THIS IS THE KIT ANGEL OLSEN HOW DO YOU MAKE A SONG LIKE AN INTIMATE conversation? Phoebe Bridgers, in this issue of MOJO, remembers discovering the knack as a 13-year-old. Listening to Elliott Smith’s music for the first time forced her to rethink how words could work: “I’d always heard lyrics that were like poetry, things you’d never say out loud,” she tells us. “Elliott would say something like ‘whatever’ or ‘oh well OK’, or talk about uglier, more day-to-day stuff.” Bridgers embodies an emerging breed of singer-songwriters whose artfulness comes dressed casually. Her songs, and those of many other artists on In My Life, have a conversational way with the classic tropes of the genre; a confessional style that was conceived at the dawn of the 1970s and refreshed…

5 min.
all back to my place

Natalie Maines THE CHICKS’ VOICE What music are you currently grooving to? The new Fiona Apple album, Fetch The Bolt Cutters. I’ve played it hundreds of times. I love the repetitive melodies and rhythmic lines. And I love Lana Del Rey’s Norman Fucking Rockwell. What, if push comes to shove, is your all-time favourite album? James Taylor’s Live. [He] was one of those artists our entire family loved. We saw him play in Dallas several times, so it puts me back in that audience. A lot of live albums, the singer isn’t as good as their recordings, but with James, he’s spot on. What was the first record you ever bought? And where did you buy it? The soundtrack to Grease. My sister and I shared it. I have no idea where we bought it. I had…

7 min.
theories, rants, etc.

E-mail to: mojoreaders@bauermedia.co.uk THERE’S A GOOD QUOTE FROM THE singer-songwriter Lucy Dacus in this issue of MOJO. She’s talking about her friend Phoebe Bridgers, and Bridgers’ gift for making records that sound at once modern and timeless, that appeal to both her twentysomething contemporaries and to older music heads. “She’s a student of the greats,” says Dacus, “and actively tries to learn from people she admires.” If we were foolish enough to try and make up a mission statement for MOJO, maybe this is an attitude we’d try to articulate. Every month, we find new stories to tell about our heroes: hence, this issue, our first major pieces on Rubber Soul and Goats Head Soup; our fresh insights into Prince, James Taylor and The Fall; our cratediggers’ guide to the late Ennio…

8 min.
the show-biz blues

“LOSING PETER Green is monumental,” said the group’s drummer and co-founder Mick Fleetwood, after learning of his death. “No one has ever stepped into the ranks of Fleetwood Mac without a reverence for Peter Green and his talent.” Guitarist Green, who died on July 25 of causes unknown, was a pioneer of the ’60s British blues boom. His sublime touch on Fleetwood Mac’s hits Black Magic Woman, Man Of The World and Albatross influenced contemporaries and successors: from Jimmy Page and David Gilmour; to Gary Moore and Noel Gallagher. But hand in hand with Green’s singular talent came disillusionment. He rejected stardom and left Fleetwood Mac in 1970; his thought processes damaged by hallucinogenic drugs and mental health issues. Green resumed his musical career in the 1980s and ’90s, where his…

2 min.
another green world

1 THE SUPERNATURAL (on John Mayall’s Bluesbreakers,A Hard Road, Decca 1967) Green’s only LP with John Mayall’s Bluesbreakers is flagged up by this sinuous instrumental, where guitar notes dangle as if suspended in mid-air. 2 BLACK MAGIC WOMAN (Fleetwood Mac single, Blue Horizon, 1968) A harsh ringing note ushers in PG’s hymn to sexual frustration; a big hit after being given a Latin spin by Santana two years later. 3 NEED YOUR LOVE SO BAD (Fleetwood Mac single, Blue Horizon, 1968) Apparently, Green disliked Mike Vernon’s use of strings on this. But the embellishments never detract from his transfixing voice and guitar. 4 MAN OF THE WORLD (Fleetwood Mac single, Immediate, 1969) PG’s world-weariness found a home in this follow-up to the mighty Albatross. “I just wished I had never been born,” he sings before dispensing a chiming, understated solo. 5 OH…

3 min.
self portrait moses sumney

“I’ve never done drugs. Netflix is healthier.”MOSES SUMNEY I’d describe myself as… indescribable. Music changed me… It gave me the framework to both understand myself and be able to communicate who I really am. I started writing songs when I was 12, and when I was 13, I discovered the music of India.Arie, which certainly gave me a lot more context for what I wanted to do with my life. I do still listen to her, especially from time to time when I need to be reminded and to re-centre. I go back to it. I definitely have been all over the place since then. Away from music… these days, I’m finding I’m really enjoying film and television. Just watching it and thinking about it and analysing it. I’ve been obsessing over [BBC/…